<p>Fort Armstrong Theatre is a historic building located in downtown Rock Island, Illinois, United States. It opened in 1920 and it was individually listed on the National Register of Historic Places in 1980. In 2020 it was included as a contributing property in the Downtown Rock Island Historic District. It was commonly referred to as the Fort Theater. The theater was named for Fort Armstrong, a fortification that sat in the middle of the Mississippi River near the present location of the Rock Island Arsenal.</p><br>
<h2>History</h2><br>
<p>The Fort Armstrong Theatre opened on January 19, 1921. Midsummer Madness, a silent movie by William C. deMille, played opening night. A ten-piece orchestra accompanied the film, and there were other musical and comedic presentations. Lila Lee, who starred in the movie made a personal appearance. Congratulatory telegrams were received from Paramount Pictures President Adolf Zukor, Cecil B. DeMille, and comedian Roscoe “Fatty” Arbuckle. Adult admission on opening night was 36 cents, plus four cents tax, and a child&#39;s admission was 20 cents. The theater was originally owned by Rosenfield, Hopp and Company.</p><br>
<p>In 1976, the theater was purchased by Denny Hitchcock and remodeled. It reopened in 1977 as the Circa 21 Playhouse, a dinner theater. In 1977, the building was listed on the National Register of Historic Places.</p><br>
<h2>Architecture</h2><br>
<p>The theater was designed by the Rock Island architectural firm of Cervin & Horn and the Chicago firm of Brawn & Ermling. It is a three-story Art Deco style building. The exterior of the structure is faced in Indian red brick and polychrome terra cotta. The terra cotta was designed specifically for the theater by Rudolph Sandberg and produced by the Midland Terra Cotta Company of Chicago. The façade features a curved northeast corner, tympanum-like areas above each window, and terra cotta decorations in Illinois and Native American themes. Ivory is the main color for the terra cotta frame and it incorporates details in yellow, bright blue, green, and brick red. The marquee is a replica of the original.</p><br>
<p>The original seating capacity of the main auditorium was 1,566. It featured five sections of seats and four aisles. The stage is 22 ft deep. The ornamentation on the proscenium arch features spiral columns and Native American motifs. There are three large Indian heads at the extremities of the arch.</p><br>
<p>The Lake Quinault Lodge is a historic hotel on the southeast shore of Lake Quinault in the Olympic National Forest in Washington, US. The hotel was built in 1926 and designed by Robert Reamer, a Seattle architect, in a rustic style reminiscent of Reamer&#39;s work at the Old Faithful Inn in Yellowstone National Park. It is a notable example of a rustic wilderness lodging, suited to its woodland environment on the southern side of the Olympic Mountains.</p><br>
<h2>Design and construction</h2><br>
<p>The two-story wood-frame structure replaced a previous building on the site that was built by Jack Ewell. Alfred and Ransom Higley bought it from Jack Ewell the original builder in 1905. Subsequently it was taken over from them by Herbert Olson in about 1907. The Olsons sold their interest in the first hotel to the Seaman family in 1921. On August 24, 1924, the original hotel burned.</p><br>
<p>Its replacement was funded by lumberman Ralph Emerson of Hoquiam, who bought out the Seamans. The first stage was a plain -story structure which still stands as the annex, restored in 2007. It became so popular that expansion was needed, and a new, more elaborate lodge was planned.</p><br>
<p>Robert Reamer was associated with the contractor, the Metropolitan Building Company, and the company&#39;s construction superintendent was Roy Garrison, who had previously worked with Reamer. Reamer had recently completed work on the Hotel Emerson in Hoquiam, and had extensive experience in the design of hotels in natural settings. Work started on June 9, 1926, and was complete fifty-three days later, on August 18, 1926.</p><br>
<p>Emerson sold the lodge in 1939. It closed during World War II. After the war it was operated by the Walker family. In 1988, the hotel was purchased by the Aramark corporation.</p><br>
<h2>Description</h2><br>
<p>The Lake Quinault Lodge is an informal retreat, similar in nature to the Rosemary Inn and Singer&#39;s Tavern (also known as the Lake Crescent Lodge). The roughly V-shaped main lodge is centered on a lobby at the angle of the V, with a masonry fireplace as its focus, overlooking the lake. Dormers and a cupola in the steep roof emphasize the central wing. The hotel is a -story wood-frame structure clad in cedar shingles. The extremities of the wings project over sloping ground, creating a three-story facade at the ends. The walls of the upper floor project slightly outward from the ground floor, and are capped with a steeply-sloping roof housing an attic floor. Large expanses of windows face in either direction from the lobby. Two smaller -story wings extend from the reception side, framing the entrance court, with an entry porch at the end of one wing. The interior features expanses of smooth, finished timbers supporting the upper floor, which is itself finished timber. The chimney is decorated with a totem pole-shaped rain gauge that measures rainfall in feet.</p><br>
<p>The Lake Quinault Lodge was placed on the National Register of Historic Places on July 9, 1998.</p><br>
<p>LeClaire Hotel is an historic building located in downtown Moline, Illinois, United States. It was named a Moline Historic Landmark in 1993, and it was listed on the National Register of Historic Places in 1994. The building now houses apartments and is known as the LeClaire Apartments.</p><br>
<h2>History</h2><br>
<p>The building was built in 1921-1922 on the east side of downtown Moline. At the time it was built it was the tallest building in what today is known as the Quad Cities. It is named after Antoine LeClaire, a US Army interpreter who served at the treaty signing ceremony that ended the Black Hawk War. He and his wife, the daughter of a Sauk chief, were significant landowners in the area. Most of their property was just across the Mississippi River in Iowa, but they also owned land that became the original plat for the city of Moline.</p><br>
<p>The LeClaire Hotel was a luxury hotel that hosted celebrities, including Jack Benny (in May 1950), and US presidents, including John F. Kennedy and Ronald Reagan. There was a ballroom on the fifteenth floor called the Top Hat that hosted tea dances that were accompanied by a big band orchestra. The hotel closed in the mid-1980s and sat for ten years without an owner. The Alexander Company bought the property and conducted extensive renovations from 1995-1996 to convert the building into an apartment building. Monarch Investment and Management Group bought the property from Kimberly Clarke in 2015 and they plan to make all the units market-rate apartments as the affordable units become available.</p><br>
<h2>Architecture</h2><br>
<p>The 15-story building is 168 ft tall, and is supported by a reinforced concrete superstructure. The exterior is covered in brick, with stone covering the ground floor and the mezzanine. It features a symmetrical façade, a rounded arch entry flanked by rounded arch windows, belt courses, and deep projecting eaves with bracketing. The interior features elements such as the wood-paneled pier supports, checkerboard patterned flooring, mezzanine stairway marble treads, newel posts, rails, and balustrade ironwork. The beamed ceiling and pilaster ornamental motifs were executed by St. Louis artisan Fedrico Aquadro.</p><br>
<p>The Old Masonic Temple in Trenton, Mercer County, New Jersey, United States, is a historic building built in 1793 at the corner of Front and Willow  streets near the New Jersey State House, and across the street from the Old Barracks.</p><br>
<p>In 1915 when a new building was constructed for the Trenton Lodge, the old building was moved half a block south to 102 Barrack Street. It has served as a Masonic Lodge, a school, a shop for a furnisher and upholsterer, a museum, and is now a tourist information center. In 1970 the building became part of the State House Historic District listed by the National Register of Historic Places.</p><br>
<p>The Ralston Building, now known as the Carrion Jewelry Center, is a historic building located in Downtown Miami. At the time of its completion in 1917, the eight-story building was the tallest building in Miami, a title it held for less than one year when it was surpassed by the McAllister Hotel, built later in 1917. In 2001, it was purchased by First & First Investments, a company owned by local jeweler Juan Perez-Carrion. He purchased the building as the headquarters for Carrion Jewelry Manufacturing. Over the course of 3 years he restored the dilapidated building to its former grandeur. The building is located at 40 Northeast 1st Avenue and is now used for office space.</p><br>
<p>Higbee Street School is located in Trenton, Mercer County, New Jersey, United States. The building was built in 1857 and was added to the National Register of Historic Places on April 14, 1995.</p><br>
<p>The Higbee Street School is a brick Greek Revival building constructed in 1857. This building was the first school built specifically for the free public education of African American children in the City of Trenton. The building itself marked a departure from previous schools, following the design concepts of 19th-century education reformers. It is probably one of the first African American schools to embody those innovations.</p><br>
<p>Trenton and Mercer County War Memorial-Soldiers and Sailors Memorial Building, known as the Trenton War Memorial, is located in Trenton, Mercer County, New Jersey, United States. The building was built in 1930 and was added to the National Register of Historic Places on December 11, 1986. It was designed by Louis S. Kaplan , who as a young architect won a competition to design Trenton&#39;s memorial to its Dead from World War One. Kaplan then supervised the building of the War Memorial, and after its dedication became the leading architect in Trenton until the early 1960s. Built as a concert hall, it fell into disrepair before being restored by the State of New Jersey in the 1990s. It was rededicated in 1999. The 1,807-seat theater at the War Memorial was renamed the Patriots Theater in 2001.</p><br>
<p>The Mercer Street Friends Center is located at 151 Mercer Street in the Mill Hill neighborhood of the city Trenton in Mercer County, New Jersey. Built in 1858, it was added to the National Register of Historic Places on August 12, 1971, for its significance in architecture, religion, and social history. It was added as a contributing property to the Mill Hill Historic District in 1977. It now houses the main offices of Mercer Street Friends, a Trenton-based Quaker-affiliated social service agency founded in 1958.</p><br>
<h2>History</h2><br>
<p>When Mahlon Stacy and other Quakers arrived in the area in 1679, Trenton was known as "The Falls." Stacy was instrumental in establishing the Chesterfield Monthly Meeting in 1684, which included friends from Crosswicks and Trenton. In 1686, Quakers in what became Trenton organized the first local charity, which assisted friends who had met with misfortune. Stacy contributed corn from his mill, which gave the Mill Hill area its name. After William Trent purchased land from the Stacy family in 1714, the town was called Trent&#39;s-town, sometimes Trent-town, and finally Trenton.</p><br>
<p>In 1827, the Society of Friends in the United States divided into two major branches, one known as Orthodox or conservative, the other known as Liberal or Hicksite, after Elias Hicks. The meeting house at Hanover and Montgomery Streets in Trenton, finished in 1739, was retained by the Hicksites. The Orthodox Friends, who had been meeting in homes, started building the brick meeting house at 151 Mercer Street in 1857 and completed it in 1858.</p><br>
<p>The graveyard was always an attraction for energetic young people, and in 1917, The Sunday Times Advertiser printed the reminiscences of Howell Quigley, who remembered being one of a gang of Third Ward boys, the "turn-cap-follow-me clique," who, "on their run through the neighborhood, across the fences and yards" would disturb the sanctity of the Quaker Church lot...even climbing onto the roof of the building, in and out of the barns, over the sheds, into cellars, anywhere, everywhere, and, oh, the dare of the leaders." Another commentator from 1917 grumbled, "I wouldn’t give a two-year-old bull for the best boy ever raised on Mill Hill," a view disputed by Mr. Quigley who became one of the proprietors of the printing firm of MacCrellish & Quigley and maintained his home on Jackson Street in the Mill Hill area, where he had lived from boyhood.</p><br>
<p>In 1955, the Philadelphia Orthodox and Hicksite Friends reunited and in 1957, the Chesterfield Monthly Meeting authorized the renovation and use of the meeting house on Mercer Street for activities that would express "Friends social concerns.</p><br>
<p>In and Out Social Club is located in Trenton, Mercer County, New Jersey, United States. The building was built in 1893 and was added to the National Register of Historic Places on March 26, 1987. It was founded on September 2, 1889 for "social, intellectual, and recreative purposes." Its significance lies primarily in that the building was designed and built specifically for a social club based in the community. It largely retains its original appearance.</p><br>
<p>The Warwick Furnace Farms is a historic district that is located in northern Chester County, Pennsylvania, United States that includes the ruins of an early iron furnace that was owned by Anna Rutter Nutt, widow of Samuel Nutt.</p><br>
<h2>History and architectural features</h2><br>
<p>Anna Rutter Nutt was the daughter of Thomas Rutter, who erected the first ironwork in Pennsylvania at Pine Forge Mansion and Industrial Site. Samuel Nutt bought the original tracts of land for a Coventry with partners William Branson and Mordecai Lincoln, the great-great grandfather of Abraham Lincoln. The furnace was managed by George Taylor when the first Franklin stoves were cast here. The furnace operated through the 1860s and supplied the iron used in the iron-clad ship the USS Monitor during the Civil War. The 786-acre historic district was listed by the National Register of Historic Places in 1976.</p><br>
<p>A historical marker on the site reads:</p><br>
<p>Several other sites listed by the National Register of Historic Places are located within a couple of miles of the site, including Hockley Mill Farm, to the east on Warwick Furnace Road, Warrenpoint to the north, Reading Furnace Historic District and Warwick Mills to the west, and Browers Bridge upstream (west) on the South Branch of French Creek. Warrenpoint was owned by Nutts partner William Branson and both are considered early iron pioneers.</p><br>
<p>In 2015, the French & Pickering Creeks Conservation Trust permanently protected the 553-acre Warwick Furnace Farm through conservation easements and the acquisition of 108 acres, which will be the future home of a public preserve.</p><br>
<p>The ironmasters house and workers houses, the historic farmhouse and the barns in this historic district are currently used in the operation of a working farm.</p><br>
<p>Rentschler Farm Museum is a historic site located at 1265 East Michigan Avenue near downtown Saline, Michigan. The site consists of an old-fashioned farmhouse and eleven outbuildings, including a hog house, an equipment shed, a hen house, and a windmill, among others. The site is now a museum that serves as a tourist attraction, showing how farming has changed over the years. The site was listed on the National Register of Historic Places in 2013.</p><br>
<p>The Rentschler farm museum holds special events during certain times of the year. In the fall, the Rentschler farm has an annual harvest celebration that consists of guided tours of the farm and garden, blacksmithing demonstrations, and antique car shows.</p><br>
<p>Near Christmas, the Saline Historical Society holds an event called "Christmas on the Farm", where people are invited to celebrate the season in an environment similar to that of the 1930s.</p><br>
<h2>History</h2><br>
<p>In 1825, John Gilbert purchased a 240-acre farmstead encompassing the land where the Rentschler Farm Museum now stands. By 1840, the property had passed into the hands of the Tate family, who farmed the land, and at some point constructed a house, barn, and tool shed on the property.</p><br>
<p>In 1901, the farmstead was put up for auction and purchased by Emanuel Rentschler. A few years later, Emanuel Rentschler moved and expanded the barn. In 1906, he dismantled the original house and, with the help of his brother Matthew Rentschler, constructed a new house on the property. More outbuildings were added in subsequent years, including a milkhouse and henhouse.</p><br>
<p>The land continued to be used by four generations of Rentschlers. By 1998, the family had sold off most of the farm in individual parcels. The last landowner, Warren Rentschler, sold the last parcel of land including the farmstead to the city of Saline at a discount. The city turned the farmstead it into a museum. The farmhouse and adjacent buildings, which had been in use since 1900, were restored in 2001 by the Saline Area Historical Society, and the old farm became the Rentschler Farm Museum.</p><br>
<h2>Buildings</h2><br>
<p>There are fourteen historically significant structures on the Rentschler Farm. These include:</p><br>
<p>Main House (1906) The main house has an architectural style which draws from multiple sources, but is dominated by the Queen Anne aesthetic. The house has fish scale shingles in the gable ends and a wrap-around gingerbread porch.</p><br>
<p>Big Barn</p><br>
<p>Silo</p><br>
<p>Milk House</p><br>
<p>Lamb Barn</p><br>
<p>Water Tank House</p><br>
<p>Corncrib</p><br>
<p>Small Implement Barn</p><br>
<p>Tractor Shed (1924)</p><br>
<p>Hen House (ca. 1912)</p><br>
<p>Big Equipment Barn (ca. 1950)</p><br>
<p>Open Tool Shed (ca. 1890)</p><br>
<p>Hog House (ca 1912)</p><br>
<p>Tool Shed (ca. 1910)</p><br>
<p>The Moline Downtown Commercial Historic District is a nationally recognized historic district located in Moline, Illinois, United States. Centered on 5th Avenue, it is roughly bounded by 12th Street to 18th Street, 4th Avenue to 7th Avenue. The distinct covers 33 acres and includes 114 buildings. One hundred of the buildings contribute to the significance of the district because they retain their historic and architectural integrity and reflect the character of the historic downtown.</p><br>
<h2>History</h2><br>
<p>The city of Moline traces its beginnings to the arrival of David B. Sears from Cairo, Illinois in 1836. He established a brush and stone mill in 1838 in what was an unincorporated area known as Rock Island Mills. Other mills were opened in the area that did everything from grinding corn and wheat to processing logs into lumber. John Deere opened his first factory along the Mississippi River in 1847, as part of a partnership, Deere, Tate, and Gould. The partnership would dissolve in 1852 and become Deere & Company. The name of the area was changed to Moline, an adaptation of the French word for "milltown."</p><br>
<p>Molines downtown commercial district initially developed along Third Avenue between Fifteenth and Eighteenth Streets. It was close to the factories and mills that lined the river. Most of the buildings were two and three stories, built of brick in the Italianate style. It was separated from the rest of the city by railroad tracks. The first train passed through Molines commercial district in February 1854. By 1895 there were 75 trains a day on the tracks and it made it difficult for residents to reach the main business district.</p><br>
<p>By the turn of the 20th century, businesses started to relocate south of the tracks. Initially, they chose locations along 15th Street, which had a trolley line that climbed the hill to the city&#39;s newer residential districts. In the 1910s several large commercial buildings were built along Fifth Avenue, which became the main artery in the downtown business district. Sixth Avenue became a secondary artery through the area. A significant loss to the area were several stately homes that lined the avenues.</p><br>
<p>By the 1920s the downtown area featured bank buildings that contained office space on multiple floors above the main banking rooms on the first floor, as well as other office buildings. These buildings provided a variety of professional services. Two of the buildings were eight stories tall, the Fifth Avenue Building and a building that is now houses Chase Bank. The LeClaire Hotel, which opened in 1922, anchored the east side of the downtown area. On the west side of downtown is the imposing First Lutheran Church, which was built in 1876. Department stores, first-floor specialty shops, theaters, hotels, restaurants, and bars rounded out the businesses. Institutional structures such as the Carnegie Library (1904), City Hall (1914), Elks Club (1924), and the Unitarian Church (1928) were also built in the downtown business district.</p><br>
<p>The downtown historic district continued to be the main business and cultural area for the city into the mid 20th century. The area was also the location for parades and other civic gatherings. By the 1940s auto dealerships and gas stations started to appear along the edges of downtown. Five large department stores were located downtown: Block & Kuhl Company; New York Store, which was demolished in 1990; J. C. Penney; Sears, Roebuck & Company; and Montgomery Ward & Company. In the 1950s and 1960s, storefronts were modified in an attempt to modernize their looks. The department stores closed in the 1970s and 1980s after SouthPark Mall opened in 1974. Since then some of the older buildings in the district have been torn down, but for the most part, the buildings that remain have retained their historical integrity. There has also been significant development along the river, just outside the historic district, after the TaxSlayer Center opened in 1993.</p><br>
<h2>Architecture</h2><br>
<p>The Moline Downtown Commercial Historic District contains numerous architectural building styles, including: Beaux-Arts, Colonial Revival, Neoclassical, Gothic Revival, Tudor Revival, Italian Renaissance, Prairie School, Moderne, Art Deco, Chateauesque, and Commercial. Several prominent local architects designed some of the more significant buildings in the historic district. Olaf Z. Cervin designed the First National Bank Building, now Chase Bank, and the Reliance Block. H. W. Wittsett designed the Moline Commercial Club. William Schultzke has the largest number of historically significant buildings downtown. He designed the Bell Telephone Building, Montgomery Ward, Moline National Bank (now First Midwest Bank), the Fifth Avenue Building, Sohrbecks, Carlson Brothers, Elks Club, and City Hall,</p><br>
<p>Old Main, Augustana College is an historic building located in Rock Island, Illinois, United States. It was built between 1884 and 1893 on the campus of Augustana College, and it was listed on the National Register of Historic Places in 1975.</p><br>
<h2>History</h2><br>
<p>Augustana College was established in Chicago in 1860 to educate Swedish immigrants by the Scandinavian Evangelical Lutheran Augustana Synod, now part of the Evangelical Lutheran Church in America. The school moved to Paxton, Illinois in 1863 and then to Rock Island in 1875.</p><br>
<p>Old Main was constructed from 1884 to 1893. It was dedicated as Memorial Hall in 1889 although it was still incomplete. The buildings design was based on a similar building at the University of Uppsala in Sweden, which was the alma mater of many of the colleges early faculty. The dome, however, was not part of the building&#39;s original design. The building in Uppsala features a crenelated octagon-shaped tower. A dome was believed to be more American, and so it was chosen to top the building. The original cost to build the building is estimated at $75,000. A third of the money was donated by a local industrialist, Philander Lathrop Cable. Cable Hall, on the second floor of the building, was restored to look like a 19th-century classroom.</p><br>
<p>A $13 million renovation of the building was begun in July 2010. The stone on the buildings exterior was washed and tuck pointed, and the old windows were replaced. The buildings dome, which was painted metal, was covered in a copper that has a pre-treated patina to give a weathered, bluish-green look.</p><br>
<h2>Architecture</h2><br>
<p>The Renaissance Revival-style building was designed by L.G. Hallberg of Chicago and E.S. Hammatt of Davenport. A large central pediment with four two-story pilasters dominate in main façade of the building over the main entrance. Smaller pediments flank the ends of the façade and help to give the structure a balanced appearance. The exterior walls feature heavy textured stone on the ground level and smooth masonry walls on the second and third levels of the building. The buff-colored dolomite limestone was quarried near LeClaire, Iowa. It is the same quarry that produced the stone blocks that were used to build the shops on nearby Rock Island Arsenal. The dome on top of the building is based on 16th-century Italian designs.</p><br>
<p>Major General Comte Jean de Rochambeau is a bronze statue honoring Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, a French nobleman and general who played a major role in helping the Thirteen Colonies win independence during the American Revolutionary War. Rochambeau joined the French military as a teenager, participating in the War of Austrian Succession, after which he was promoted to colonel, and the Seven Years&#39; War. During the war in America, Louis XVI asked Rochambeau to lead a force of 5,500 French soldiers to assist the fight against the Kingdom of Great Britain. He and George Washington later worked together in the successful siege of Yorktown. He led the Army of the North during the French Revolutionary Wars, but was arrested and almost executed during the Reign of Terror. His military rank was restored by Napoleon and Rochambeau died a few years later in 1807.</p><br>
<p>In the late 1800s, a plan was made to erect four statues in Lafayette Square, Washington, D.C., honoring foreign heroes of the war. The second one erected would be the statue of Rochambeau. French embassy official Jules Boeufvé worked tirelessly to have the statue, a replica of the original statue in Vendôme, France, installed in Lafayette Square. Congress authorized the plan in 1901. The following year, sculptor Fernand Hamar&#39;s replica was delivered to the United States. A base with additional statuary was also installed.</p><br>
<p>The dedication took place on May 24, 1902, with thousands of invited guests and onlookers in attendance. Amongst those that spoke during the unveiling and dedication ceremony were President Theodore Roosevelt, French General Joseph Brugère, French Ambassador Jules Cambon, and members of Congress. After the festivities in Washington, D.C., the French delegation was taken on a train tour of places Rochambeau had spent time. A few years later, a commemorative book was written by De Benneville Randolph Keim, and given to people who were in attendance at the ceremony.</p><br>
<p>Since that time, the statue has often been cleaned to remove verdigris, but a portion of the inscriptions have faded due to weather. The statue rests on a tall base adorned with two figures: a woman depicting Victory who is holding a sword and two flags, and an eagle beside her. Rochambeaus statue is one of 14 American Revolution Statuary in Washington, D.C., that were collectively listed on the National Register of Historic Places in 1978 and the District of Columbia Inventory of Historic Sites the following year. In addition, the statue is a contributing property to the LEnfant Plan and the Lafayette Square Historic District, a National Historic Landmark.</p><br>
<h2>History</h2><br>
<h3>Biography</h3><br>
<p>Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, was born in 1725 in Vendôme, France. When he was 17, Rochambeau joined the French military and received praise from his commanding officers for his conduct in the War of Austrian Succession, leading to a promotion to colonel at 21 years old. The next decade he fought in the Seven Years&#39; War. When the American Revolutionary War broke out, Rochambeau was near retirement from the military, where he held the rank of lieutenant general. In 1780, Louis XVI requested he participate in the Expédition Particulière, which would see 5,500 French soldiers fight alongside the Continental Army against the Kingdom of Great Britain.</p><br>
<p>Rochambeau and his forces sailed for 70 days before reaching Newport, Rhode Island, where the soldiers quickly built fortification. Commander-in-Chief of the Continental forces, General George Washington, wanted Rochambeau to attack British General Henry Clintons forces in New York. Rochambeau did not agree to the plan because the French Navy had not arrived to assist him. He thought the Southern Colonies should be the next focus of the war. After promised troops and navy forces did not arrive by the following year, Rochambeau agreed to Washingtons plan to attack British forces in New York. However, with the arrival of Admiral François Joseph Paul de Grasse and additional French troops, both Washington and Rochambeau chose to attack General Charles Cornwall in Virginia.</p><br>
<p>The combined French-American forces traveled south via the Washington–Rochambeau Revolutionary Route. It was in Virginia where the Siege of Yorktown took place, with 12,000 troops encircling British forces. The British surrendered in October 1781, essentially marking the end of the war. Rochambeau returned to France in 1783 and several years later commanded the Army of the North during the French Revolutionary Wars. He was awarded the distinction Marshal of France in 1791 and retired to Vendôme the following year. During the Reign of Terror, Rochambeau was almost executed in 1794 after being imprisoned and stripped of his military rank. Once Napoleon came to power, his military rank was restored. A few years later, Rochambeau died in 1807.</p><br>
<h3>Memorial plans</h3><br>
<p>After the installation of the statue of the Marquis de Lafayette in Lafayette Square, Washington, D.C., in 1891, plans were made to erect three more statues to honor foreign heroes of the American Revolutionary War. The statue of Rochambeau would become the second memorial installed in the square. In Vendôme, sculptor Fernand Hamar had created a statue of Rochambeau that was unveiled in June 1900. Before the unveiling took place, there were already plans to make a replica for Lafayette Square. French embassy official Jules Boeufvé had been contacting USA senators since April of that year, asking them to have a replica of the Rochambeau statue brought to the United States. He said the cost would be around $7,500.</p><br>
<p>USA Senator George P. Wetmore introduced an amendment on May 23, 1900, to allocate $10,000 for the installation of the statue, but the bill did not make it past committee meetings, which had already reduced the funding to $7,500. Boeufvé asked the USA ambassador to France, Horace Porter, to send a letter of support for the statue. A few months later Porter wrote a letter to the chairman of the USA House Committee on Appropriations, which stated: "At the request of Mr. Boeufvé, of the French Embassy in the United States, I beg to say that I participated, on June 4th last, at Vendôme, in the unveiling of the statue of Rochambeau by the French artist Fernand Hamar, and that I found it to be a spirited and excellent work of art. It seems to me that it would be very appropriate and would give great satisfaction, if means were found to erect in Washington, D.C., a replica of the Marshal’s Statue."</p><br>
<p>USA Representative James McCleary introduced a bill the following February that allocated $7,500 for the statue. That bill failed, but USA Senator Henry C. Hansbrough introduced another one which was ultimately successful. The Act of Congress passed on March 3, 1901. Out of the 24 bills to erect memorials in Washington, D.C., that came before Congress from 1899 to 1903, only four others were approved. Boeufvé was noted for his help and determination in having Congress authorize the installation.</p><br>
<p>In total, $42,500 was appropriated by Congress for the transportation and installation of the statue, a base for the statue, and the traveling expenses for Rochambeaus family, Lafayettes family, and French government officials.</p><br>
<h3>Dedication</h3><br>
<p>In addition to the aforementioned families and officials, President Theodore Roosevelt and Congress officially invited French citizens to the statue&#39;s unveiling, which would take place on May 24, 1902. That date was chosen because it was the anniversary of when Rochambeau joined the military. French President Emile Loubet received a letter of invitation in March of that year. He assigned a delegation of officials to attend the ceremony, including General Joseph Brugère and Vice Admiral Ernest François Fournier. Amongst the French civil delegation was Hamar and his father, in addition to the Rochambeau and Lafayette families. Rear Admiral Raymond P. Rodgers and Third Assistant Secretary of State Herbert H. D. Peirce were amongst the USA delegation that were appointed to assist the French guests of honor.</p><br>
<p>The French delegation arrived in New York City on May 17, 1902, and began their travel to the nation&#39;s capital. On May 20, USA Navy ships, consisting of the USS Olympia, the USS Kearsarge, and the USS Alabama, greeted the French battleship Gaulois in Annapolis, Maryland. The delegation visited Mount Vernon in Virginia the day before the unveiling ceremony. Later that night, they attended state dinners at the French embassy and at the White House.</p><br>
<p>On May 24, 1902, thousands of guests in addition to thousands of members of the public gathered in Lafayette Square for the unveiling. Temporary stands were built by the statue for guests of honor, each one a patriotic color. The red stand was reserved for USA House members, the white stand reserved for USA Senate members along with patriotic groups, and the blue stand reserved for the French delegation, President Roosevelt, his cabinet, justices of the USA Supreme Court, and diplomats. The statue was draped with French and USA flags and two soldiers from each country stood at the statue&#39;s corners.</p><br>
<p>Roosevelt and his cabinet members were led from the White House to the statue by soldiers dressed in colonial military uniforms. When he arrived to the site, the crowd cheered. The invocation was given by Reverend Dr. Stafford followed by an address from the president, which was often interrupted with loud applause. Countess Rochambeau then pulled the cords, unveiling the statue, while an artillery salute took place and the United States Marine Band played the French national anthem, La Marseillaise. There was a loud applause and then Hamar was introduced to the crowd. This was followed by speeches from Ambassador Jules Cambon, Senator Porter, Senator Henry Cabot Lodge, and by Brugère, who said Entre vous, entre nous; à la vie, à la mort. ("Between you, between us; To life, to death.") After the ceremony, the French delegation was taken on a tour of places Rochambeau had spent time, including West Point, Niagara Falls, Newport, and Boston.</p><br>
<h3>Later history</h3><br>
<p>There was interest shown in creating a commemorative book covering the statue and its unveiling. In February 1904, Congress passed a resolution to create one and to print 10,000 copies, intended for those that were at the ceremony. The book, Rochambeau: A Commemoration by the Congress of the United States of America of the Services of the French Auxiliary Forces in the War of Independence, was written by De Benneville Randolph Keim.</p><br>
<p>The statue in Washington, D.C., is not the only replica of Hamar&#39;s design. The second replica is located on Avenue Pierre 1er de Serbie in Paris. It was installed in November 1933. The third replica, in Newport, was installed on July 13, 1934. The original statue was destroyed by Nazis during World War II. The Society of the Cincinnati raised funds for a fourth replica that replaced the original. It was installed in 1974.</p><br>
<p>Verdigris has been removed from the statue on numerous occasions, beginning in 1910. A major cleaning of the statue and others in Lafayette Square took place in 1987. In addition, the foundation and base were recaulked. Although the statue has been somewhat easy to upkeep, the base and its inscriptions have not fared as well. Over time, weather has caused many of the inscriptions to be illegible. A few pieces from the granite and base statue have broken off throughout the years.</p><br>
<p>The Rochambeau statue is one of 14 American Revolution Statuary that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The statuary was added to the District of Columbia Inventory of Historic Sites (DCIHS) the following year on March 3, 1979. Because of its location on a square planned by Pierre Charles LEnfant, the statue is a contributing property to the LEnfant Plan, listed on the NRHP and DCIHS on April 24, 1997, and January 19, 1971, respectively. In addition, the statue is a contributing property to the Lafayette Square Historic District, a National Historic Landmark which was added to the NRHP on August 29, 1970, followed by the DCIHS on June 19, 1973. The statue and surrounding park are owned and maintained by the National Park Service.</p><br>
<h2>Location and design</h2><br>
<p>The Rochambeau statue is located on the southwest corner of Lafayette Square, at the intersection of Pennsylvania Avenue and Jackson Place NW, in Washington, D.C. The statue is across from the White House to the south and the Peter Parker House to the west. The statue is one of four that are sited on Lafayette Square&#39;s four corners. In the center of the park is the equestrian statue of Andrew Jackson.</p><br>
<p>The statue is made of bronze and the base is granite. The statue is 8-feet tall (2.4 m) and the diameter is 6 feet (1.8 m). The base is 20-feet tall (6.1 m) and 12-feet 2-inches (3.7 m) on all four sides. Rochambeau is depicted standing and pointing south into the distance with his right hand, showing his troops where to go. His left hand is holding papers that contain plans for the siege of Yorktown. He is wearing a Marshal of France uniform, including a three-pointed hat and the cockade of France, and a Order of the Saint Esprit medal. His sword is on his left side. Behind his left foot are a cannonball and cannon and laurels are in front of his feet.</p><br>
<p>Below Rochambeau are two bronze figures on the pedestal, which are not on the original statue.</p><br>
<p>The neoclassical-style base is composed of three tiered sections. The top section underneath Rochambeau is pyramidal-shaped and become square-shaped as it moves down to the second tier. On this top tier, in addition to the Victory and eagle statues, are decorative granite shields on the east and west sides. The Rochambeau family crest is on the east shield and the coat of arms of France on the west shield. Both shields have a crown and garland above them and laurels below them. The second tier is also pyramidal-shaped until reaching the third tier, which is square-shaped. The statue is standing on a mound of grass measuring 55-feet in diameter (16.8 m).</p><br>
<p>The inscriptions read:</p><br>
<p>(Sculpture of Liberty, front near base:)</p><br>
<p>FONDU PARLE PAL D&#39;OSNE 58 RUE VOLTAIRE</p><br>
<p>F. HAMAR</p><br>
<p>(Base, north face:)</p><br>
<p>We have been</p><br>
<p>contemporaries</p><br>
<p>fellow labourers</p><br>
<p>in the cause</p><br>
<p>of liberty</p><br>
<p>and we have lived</p><br>
<p>together</p><br>
<p>as brothers should do</p><br>
<p>in harmonious friendship</p><br>
<p>WASHINGTON TO ROCHAMBEAU</p><br>
<p>February 1, 1784</p><br>
<p>(Base, north face, bottom:)</p><br>
<p>BY THE CONGRESS</p><br>
<p>MAY XXIV MDCCCCII</p><br>
<p>(Base, front below sculpture of Rochambeau:)</p><br>
<p>ROCHAMBEAU</p><br>
<p>Major General Friedrich Wilhelm von Steuben is a bronze statue of Friedrich Wilhelm von Steuben, a Prussian soldier who assisted the Thirteen Colonies during the American Revolutionary War. Steuben had fought in previous wars, earning promotions until he assisted in the courts of Frederick the Great and later Josef Friedrich Wilhelm, Prince of Hohenzollern-Hechingen. After meeting with Benjamin Franklin, and fearing for his safety in Europe after alleged homosexual behavior, Steuben and his associates arrived to help the Continental Army.</p><br>
<p>He met General George Washington at Valley Forge, where he helped turn the army there into one that was capable to fight. Steuben assisted with the Southern Campaign and Siege of Yorktown, after which the American forces were successful in winning the war. Steuben was given land and later retired in New York, where he died in 1794.</p><br>
<p>In the late 1890s, plans were made to erect statues in Lafayette Square, Washington, D.C., honoring foreign heroes. An Act of Congress passed in 1903 led to the eventual erection of the statue honoring Steuben in 1910. It was sculpted by Albert Jaegers with assistance in the design of the base by Cass Gilbert and T. R. Johnson. The unveiling ceremony was attended by around 10,000 people, including President William Howard Taft. A large parade took place after the ceremony. A replica of the statue was given to Germany and erected in Potsdam the following year.</p><br>
<p>The statue rests on a tall base adorned with two sets of figures. Steubens statue is one of 14 American Revolution Statuary in Washington, D.C., that were collectively listed on the National Register of Historic Places in 1978 and the District of Columbia Inventory of Historic Sites the following year. In addition, the statue is a contributing property to the LEnfant Plan and the Lafayette Square Historic District, a National Historic Landmark.</p><br>
<h2>History</h2><br>
<h3>Biography</h3><br>
<p>Friedrich Wilhelm von Steuben was born in 1730 in Magdeburg, Prussia, which is in modern-day Germany. He was educated by Jesuits, but was a critic of Roman Catholicism. He would later convert to the Reformed German Church. As a youth, he and his father allegedly fought in a battle during the War of the Austrian Succession. At the age of 17, Steuben joined the Prussian Army and later fought in the Seven Years&#39; War. After fighting in a number of battles, some of which saw him sustain injuries, he rose through the ranks until becoming aide-de-camp to Frederick the Great. After the war concluded, Steuben was unemployed for a year.</p><br>
<p>The following year, Steuben became Hofmarschall to Josef Friedrich Wilhelm, Prince of Hohenzollern-Hechingen, until 1777. Starting in 1771, he used the title Baron.</p><br>
<p>Steuben and members of his party, including Peter Stephen Du Ponceau and aide-de-camp Louis de Pontière, arrived in New Hampshire in late 1777. After meeting with the Continental Congress, where he was mistakenly presented as a lieutenant general, it was agreed Steuben would be paid following the war, based on his actions. He arrived at Valley Forge in early 1782. It was here he met General George Washington and was promoted to Inspector General. Steuben took to task making the unorganized army into a group of readied soldiers, creating drills and directly working with the troops. The army&#39;s improvement was noted by other officers and members of the Continental Congress. Steuben was then promoted to major general. In 1779, his book, Regulations for the Order and Discipline of the Troops of the United States, was approved by Congress.</p><br>
<p>Steuben began serving active duty again in spring 1779, fighting alongside General Nathanael Greene in the Southern Campaign, and leading one of the three divisions at the Siege of Yorktown. After the American colonies won the war, he resigned his position. Despite not receiving all of the compensation he requested, Steuben was given free land in Virginia, Pennsylvania, and New York, which he partially sold. A few years later, Steuben left New York City due to a forced retirement, and spent his last years on his land in New York. He died in 1794, leaving his land to North and Benjamin Walker.</p><br>
<h3>Memorial</h3><br>
<p>Beginning in the late 1890s, government officials in Washington, D.C., planned to erect statues in Lafayette Square, across the street from the White House, honoring foreign heroes of the American Revolutionary War. The third out of four of these memorials would be one to honor Steuben. An Act of Congress passed in 1903 to erect a memorial to Steuben, with the law being signed by President Theodore Roosevelt on February 27, 1903. The cost appropriated for the statue and its erection was $50,000, and a memorial commission was created to oversee the installation and unveiling.</p><br>
<p>It would be two years until a competition was created to find a sculptor. Six artists submitted designs, with three chosen as possibilities, later reduced to two models. In May 1906, the remaining models were shown to the commission and German American Albert Jaegers, who designed many sculptures for the federal government, was chosen the winner. Sculptor Augustus Saint-Gaudens also approved the design. The commission did not sign a contract until January 1907 and Jaeger completed the working model the following year. The two groups of statues on the base were completed December 1908 and the Steuben statue the following July. Architects Cass Gilbert and T. R. Johnson assisted Jaegers with designing the base.</p><br>
<h3>Dedication</h3><br>
<p>The day the Steuben statue was unveiled and dedicated on December 7, 1910, it was rainy in Washington, D.C., but that did not hamper spirits. One-thousand members of the Northeastern Singers Association (NSA) sang before the ceremony began, which was attended by approximately 10,000 guests of honor and onlookers. The invocation was given by Reverend Charles F. Steck followed by a brief commentary from Secretary of War Jacob M. Dickinson, who served as master of ceremonies. The opening address was given by Representative Richard Bartholdt, who noted the European influences that led Steuben to join the American cause and his actions during the Revolutionary War.</p><br>
<p>Bartholdt&#39;s speech was followed by one from Charles John Hexamer, president of the National German-American Alliance. The NSA sang another song before German Ambassador Johann Heinrich von Bernstorff spoke. Helen Taft Manning, daughter of President William Howard Taft, unveiled the statue as members of German societies and the United States Marine Band sang the USA national anthem. Jaeger was introduced to the crowd followed by President Taft giving a speech in praise of Steuben. Reverend William T. Russell led the closing player. Temporary stands were built at the site, where the president and other dignitaries reviewed a parade that included thousands of soldiers and members of the public.</p><br>
<h3>Later history</h3><br>
<p>A replica of the statue in Washington, D.C., was created at the same time as the original. It was presented to Wilhelm II and the German people in 1911 by the USA Congress, and erected on Steuben Square in Potsdam. At the presentation ceremony were Representative Bartholdt and a Mrs. S.B. Wolfram of New York. Bartholdt&#39;s speech began with the following: "Your Majesty: By direction of the president of the United States, we have come across the ocean to fulfill the purport of a resolution unanimously adopted by the American congress, providing for the presentation to his majesty, the German emperor, and the German people, of a statue of General von Steuben, a great German and erstwhile citizen and hero of the two continents, as a gift from the American people." The statue was removed by Soviet troops at the end of World War II and East German officials had it melted it down in 1950. A replica was installed in West Berlin in 1987, and after German reunification, another replica was erected near the old location in Potsdam.</p><br>
<p>The von Steuben statue is one of 14 American Revolution Statuary that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The statuary was added to the District of Columbia Inventory of Historic Sites (DCIHS) the following year on March 3, 1979. Because of its location on a square planned by Pierre Charles LEnfant, the statue is a contributing property to the LEnfant Plan, listed on the NRHP and DCIHS on April 24, 1997, and January 19, 1971, respectively. In addition, the statue is a contributing property to the Lafayette Square Historic District, a National Historic Landmark which was added to the NRHP on August 29, 1970, followed by the DCIHS on June 19, 1973. The statue and surrounding park are owned and maintained by the National Park Service.</p><br>
<p>There are additional statues honoring Steuben at Valley Forge and Utica, New York, and his birthday is noted by German Americans each year at events in New York, Chicago, and Philadelphia. In 2019, a wreath-laying ceremony took place at the statue, with representatives of LGBT military veterans in attendance.</p><br>
<h2>Location and design</h2><br>
<p>The statue is located on the northwest corner of Lafayette Square, near the intersection of Jackson Place and H Street NW in Lafayette Square, Washington, D.C. The remaining foreign sculptures in the square include Comte de Rochambeau, Marquis de Lafayette, and Tadeusz Kościuszko.</p><br>
<p>The bronze statue, measuring 10 feet tall (3 m), is of a standing Baron von Steuben in Continental Army uniform (with sash, boots, tricorn hat, and cape) looking into the distance while inspecting Continental Army soldiers in 1778. The statue sits atop a square pink granite base measuring 15-feet tall (4.6 m): the front and back feature ornament reliefs, and the left and right have figures in bronze. The base is flanked by two sets of allegorical figures: one to the southwest and the other to the northeast. The figures on the northeast side are two male figures symbolizing military instruction and the figures on the southwestern side are two female figures symbolizing commemoration.</p><br>
<p>The front of the base has the following inscription (topped by an American eagle):</p><br>
<p>The rear of the base contains profiles in relief of von Steuben&#39;s aides-de-camp, Colonel William North and Major Benjamin Walker, and the following inscription:</p><br>
<p>Peoples National Bank Building–Fries Building are two historic buildings located in downtown Rock Island, Illinois, United States. They were listed together on the National Register of Historic Places in 1999. They were included as contributing properties in the Downtown Rock Island Historic District in 2020. The buildings were built separately, but have subsequently been connected on the first three floors.</p><br>
<h2>People’s National Bank Building</h2><br>
<p>The Peoples National Bank Building was constructed as a three-story building around 1876 by a now unknown person. The original architect is also unknown, but it is known that Drack & Kerns and George Stauduhar have altered the building in subsequent years. The bank itself had been organized two years previously, and purchased the building around 1904. They extensively renovated the building and added the fourth floor. In 1912 the bank branched out into the German Trust & Savings Bank, renamed American Trust & Savings Bank during World War I, to handle personal accounts. The banks were bought and sold during the 1920s and eventually closed. The buildings first floor housed an early location of McCabe&#39;s Department Store. They were followed by a series of other retailers.</p><br>
<h2>Fries Building</h2><br>
<p>The Fries Building was built by Frank G. Young and William Sharp McCombs as the new location for their department store. It was designed by the architectural firm of Drack & Kerns. The building opened in 1897 and featured 22,400 ft&sup2; of space. The store moved to a larger building 1909. Subsequent retailers who occupied the building include a shoe store, Mosenfelder & Kohn; a furniture store, Hadley Company; Bennison&#39;s Department Store and the New York Store.</p><br>
<h2>Architecture</h2><br>
<p>The bank portion of the building is a four-story brick structure. In addition to the fourth floor, the Second Avenue façade was added to the building in 1904. The Fries Building is three-stories and features a decorative frieze and round windows at the top. Pilasters are located between the large windows on the upper levels. Both buildings feature a tripartite division of base, center, and cornice that horizontally divide the buildings. Both buildings also feature Commercial style windows.</p><br>
<p>Villa de Chantal Historic District was a national recognized historic district located in Rock Island, Illinois, United States. The property was designated a Rock Island Landmark in 1994, and it was listed as a historic district on the National Register of Historic Places in 2005. Its local landmark status was removed on November 12, 2007. It was removed from the National Register in 2012. The Villa de Chantal was a Catholic girl&#39;s boarding and day school operated by the Sisters of the Visitation. The school closed in 1978 and the building was largely destroyed in a fire in 2005. The property now houses the Rock Island Center for Math & Science of the Rock Island-Milan School District #41.</p><br>
<h2>History</h2><br>
<p>The Visitation Sisters came to Rock Island from Maysville, Kentucky in 1898. They established a school on Fifth Avenue near Sacred Heart Church. Because of the success of the school, they chose to build a larger school and bought property on Balls Bluff at the edge of Highland Park. The first part of the complex opened in 1901. Within five years the school had grown to 60 boarders and a larger addition was built to expand the school. The older section of the building housed the convent and the new section housed the dormitories, classrooms, and chapel. A chaplains bungalow was added to the property in 1919. The east wing of the building, known as Lewis Hall, was built in 1929 and contained classrooms and a gymnasium. This expansion was funded by Frank Lewis and a fundraising drive led by Thomas P. Sinnett.</p><br>
<p>The Sisters operated a twelve-grade school. The boarding school was discontinued in 1958. The last high school class graduated in 1975, and the school itself ceased operating in 1978. In the early 1990s the complex was sold and a private school, named Morningstar Academy, occupied the building. The building was also available for parties and receptions. The school moved from the building in 2005 when developer Chris Ales purchased the building. He intended to renovate the building into apartments for senior citizens as he had done in the former St. Katherines-St. Marks School and the former Marycrest College buildings across the river in Davenport, Iowa.</p><br>
<p>In the early morning hours of July 14, 2005, the older sections of the building were consumed in a fire. Only the brick shell of the structure remained, as did the 1929 addition and the caretaker&#39;s home. The cause of the fire was not determined. The Rock Island-Milan School District acquired the property and the remaining buildings were torn down in 2008. The Rock Island Center for Math & Science, a magnet school focusing on math and science, opened in 2010.</p><br>
<h2>Architecture</h2><br>
<p>The two older wings of the building were designed by Rock Island architect George P. Stauduhar in the Gothic Revival style. The original sections featured a dark rough brick on the ground level and a light buff brick on the upper portions. The main entrance was framed by two octagon-shaped towers. The western tower was topped by a belfry and contained a bell the Sisters had brought with them from Kentucky. The tower on the east side was crenelated at the top. The entrance itself was white glazed terra cotta. The façade featured different window shapes, such as a rose window, pointed arch chapel windows, gothic outlined and tracery windows and simple multi-paned casements. Lewis Hall was designed by architect Edward Lerch. It was similar to the western portion of the building, but less ornate. The Chaplain&#39;s Bungalow, which Stauduhar also designed, was influenced by the Prairie School style. The side openings of the porch show influences of the Gothic style that tie it in with the rest of the Villa.</p><br>
<p>The Joanna Furnace Complex was an iron furnace that operated from to in Robeson Township, Berks County, Pennsylvania. It was founded by Samuel Potts and Thomas Rutter III  and named for Potts&#39;s wife Joanna.</p><br>
<p>The furnace and its associated buildings were listed as a historic district by the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>After the Civil War ended, the charcoal-fired furnace was owned by Clement Grubbs son-in-law, L. Heber Smith, a former colonel who married Clements daughter Ella Jane Brooke Grubb in 1868. It then passed through several hands before Smith took ownership, possibly after the war and before his marriage to Ella Jane. It is likely that the Grubbs assisted with the furnaces major technological upgrade in 1889, when his wife inherited her fathers sizable estate that year.</p><br>
<p>The furnace continued in operation under Smith until it was "blown out" after his death in 1898 at the age of sixty-one. The furnace was acquired by Bethlehem Steel, which deeded it to the Hay Creek Valley Historical Association in 1979. The ruins have been preserved and are open to visitors.</p><br>
<p>The Roman Catholic St. Marys Cathedral Basilica of the Assumption in Covington, Kentucky, is a minor basilica in the United States. Construction of the cathedral began under the Diocese of Covingtons third bishop, Camillus Paul Maes, in 1895 to replace an 1834 frame church that was inadequate for the growing congregation. Pope Pius XII elevated the cathedral to the rank of minor basilica on December 8, 1953.</p><br>
<h2>Description</h2><br>
<p>The sanctuary was designed by the Detroit architect Leon Coquard and is inspired by the Notre Dame Cathedral in Paris. Services were first held in 1901, with the Madison Avenue façade, designed by the local architect David Davis, added between 1908 and 1910. The structure is constructed of Bedford stone, and the roofs are covered with red ludovici tile. It measures 194 x, and the nave reaches a height of 81 ft. The cathedral project terminated in 1915, although it remains incomplete to this day with the planned 52 ft towers unbuilt.</p><br>
<p>The restoration of the cathedral earned a 2002 Preservation Award from the Cincinnati Preservation Association. For the interior restoration, Conrad Schmitt Studios cleaned the stone ribs, tracery and walls. Studio artists also restored plaster and select faux stone painting.</p><br>
<p>The interior was modeled after St. Denis in France. It contains murals by Covington native Frank Duveneck, with the high altar carved from Carrara marble and with floors of Rosata and Breche marble.</p><br>
<p>The cathedral is famous for what is said to be the worlds largest handmade church stained glass window, at 67 x. Located in the north transept of the cathedral, the upper portion depicts the Coronation of Mary after her Assumption. The lower portion is a depiction of the Ecumenical Council of Ephesus in 431 AD that proclaimed Mary the Theotokos&#39; (God-Bearer or Mother of God). The window was created by Mayer and Company of Munich, Germany, and installed in 1911. It was fully restored in 2001.</p><br>
<p>The cathedral houses three pipe organs. The south transept gallery holds the pipe organ designed by Henry Willis III during his tenure at the Wicks Organ Company of Highland, Illinois. This organ was blessed on February 12, 1933, in a ceremony that also commemorated the anniversary of Pope Pius XI&#39;s coronation. Originally a three-manual console with 43 ranks of pipes, Aultz-Kersting Organ renovated and enlarged this instrument in 1982 to four-manuals with 65 ranks.</p><br>
<p>The west gallery, below the rose window, is occupied by the two-manual organ originally built for St. Joseph Roman Catholic Church in Covington, Kentucky, in 1858 by Mathais Schwab of Cincinnati, Ohio. When the St. Joseph building was razed in 1970, the Schwab organ was moved to St Mary&#39;s. The Schwab organ was altered to fit the new location, but retains most of its original components, including its mechanical key and stop actions, ivory keyboards and faux-grained casework. It contains 21 ranks. In 2002, the cathedral purchased a one-manual, 20-rank portable organ for use in various parts of the sanctuary.</p><br>
<p>In June 2021, 24 statues were installed in the long empty niches at the cathedrals entrance to complete the buildings long unfinished façade. The statues were designed by the Pennsylvania-based artist Neilson Carlin, with each honoring various parishes and institutions located within the diocese. They are made of Bedford limestone, reportedly sourced from the same quarry which provided material for the original construction of the church. Above the northernmost door is a tympanum depicting the Annunciation. From left to right, the statues depict Saint John the Baptist; Saint Barbara; Saint James the Great; Saint Agnes; Saint William of York; and Saint Timothy. A tympanum depicting the Assumption of Mary sits above the central doors, with a statue of Mary presiding between them. From left to right, the eight additional statues depict Pope Saint Pius X; Saint Patrick; Saint Benedict; Saint Joseph; Saint Boniface; Saint Henry; Saint Catherine of Siena; and Saint Charles Borromeo. A tympanum of the Coronation of Mary sits above the southernmost doors. From left to right, the statues depict Saint Augustine; Saint Thérèse of Lisieux; Saint Anne; Saint Bernard; Saint Rose of Lima; and Saint John the Evangelist. Four additional statues reside on niches located on the front buttresses of the cathedral. From north to south they depict: Saint Thomas More; Saint Paul; Saint Peter; and Saint Elizabeth of Hungary.</p><br>
<p>The Quarry Bridge is located near Quarry, Iowa in Marshall County, Iowa. The bridge is also called the Iowa River Bridge. It was built in 1885 and has been listed on the National Register of Historic Places since 1998.</p><br>
<p>The superstructure of the bridge was fabricated by the King Iron Bridge Company of Cleveland, Ohio. The builders completed the bridge in September 1885 at a cost of $3,295. The total length of the bridge is 149.9 ft. The deck width is 16.1 ft. The vertical clearance above the deck is 14.2 ft.</p><br>
<p>The Graves Creek Ranger Station is a small historic district in Olympic National Park, Washington, USA. It includes the first administrative buildings to be built by the National Park Service in the newly designated park. The district comprises two buildings built in 1939-41 by the National Park Service in the Graves Creek region of the western park. Labor from the Civilian Conservation Corps and the Public Works Administration was used for both the ranger station residence and the garage-woodshed, as well as for a generator building that no longer stands. The 1939 ranger station residence is a one-story frame structure, clad in cedar shingles. The garage is of similar construction, built in 1941. Both structures are examples of the late National Park Service Rustic style, featuring broad shingle courses and deep eaves.</p><br>
<p>Workers for the residence came from the Camp Elwha CCC camp in the northern portion of the park, the only CCC camp in the area in 1939. By 1941 another CCC camp was established near Lake Quinault at the Norwood Guard Station. The crew from the new camp went on in 1942 to construct a campground at Graves Creek.</p><br>
<p>The Graves Creek Historic District was placed on the National Register of Historic Places on July 13, 2007.</p><br>
<p>The Potter House is a historic building located in Rock Island, Illinois, United States. It was designated a Rock Island Landmark in 1987, listed individually on the National Register of Historic Places in 1989, and the house was included as a contributing property in the Broadway Historic District in 1998.</p><br>
<h2>Minnie Potter</h2><br>
<p>The home was built by Minnie Potter who was the president of J.W. Potter Company, which owned the Rock Island Argus newspaper. Her husband had bought the newspaper in 1882 when it had only 500 subscribers. He died at the age of 36 in 1898. Minnie was 32 at the time and a mother of three young children. She took over the leadership of the paper and raised her family. She never remarried. The Argus prospered under her leadership and she directed the construction of a new newspaper plant on Fourth Avenue in 1925. Mrs. Potter had the home built in 1907 and lived there until her death, and the home remained in the family until 1983. The Potter family sold the newspaper in 1985.</p><br>
<h2>Architecture</h2><br>
<p>The home was designed by Rock Island architect George Stauduhar in the Colonial Revival style. It also includes elements of the Prairie School style. The Colonial Revival style is found in the main façade’s symmetry, door sidelights, the elliptical fanlight above the door, and in the multiple panes of glass of the upper sashes on the windows. Many of the widows, however, are characteristic of the Prairie style. They have a larger sash with a single pane of glass and are topped with a smaller upper sash. The exterior of the house is covered in stucco. The texture on the lower half of the wall is rough, while the top is smoother. The interior features leather embossed wall coverings in the front entrance, a grand central staircase, mahogany paneling, stained glass, and six fireplaces.</p><br>
<p>The Stauduhar House is an historic building located in Rock Island, Illinois, United States. It was listed on the National Register of Historic Places in 1982. The house is in the Highland Park Historic District.</p><br>
<h2>George P. Stauduhar</h2><br>
<p>George Stauduhar was a prolific architect based in Rock Island. He graduated with a degree in architecture from the University of Illinois in 1888. Stauduhar moved to Rock Island in 1890 to establish his practice, which ended with his death in 1928. He married Anna Elizabeth Farrell in 1891 and they raised eight children. The architectural practice was a family business. His sons assisted in the business arrangements and supervised the construction on the work-site. His oldest son, Charles, owned his own construction company and was his fathers business partner. The Stauduhar daughters maintained the businesss financial records and inventories. He died of heart failure in Valley City, North Dakota on September 23, 1928, while supervising the construction of a church. His son and business partner Charles died the next day in an automobile accident while on his way to make his fathers funeral arrangements. While this brought an end to the familys architectural business, they continued to live in the house until 1975. George Stauduhar&#39;s architectural and personal papers were donated to the University of Illinois.</p><br>
<p>While Stauduhar designed a variety of buildings, he is most noted for his work for the Catholic Church. He designed over 200 churches in the Gothic Revival style in the upper Mississippi River Valley. Eight of his churches were built in Rock Island County. Stauduhar used classical architectural styles in his residential buildings that incorporated his love for the romantic. He liked to mix textures and various architectural details in the homes he designed. His own home exemplifies this tendency in his work. Stauduhar also designed commercial buildings and steamboat interiors.</p><br>
<p>A sample of George Stauduhar&#39;s designs in Rock Island includes:</p><br>
<p>St. Mary&#39;s Rectory (1890)</p><br>
<p>John Looney residence (1895)</p><br>
<p>Kelly Residence (1895)</p><br>
<p>Villa de Chantal (1900–1919)</p><br>
<p>Sacred Heart Church (1901)</p><br>
<p>Shields House (1904)</p><br>
<p>Potter House (1907)</p><br>
<p>West End Settlement (1907)</p><br>
<p>Peoples National Bank remodel (1910)</p><br>
<p>Math Residence (1911)</p><br>
<p>Audubon School (1912)</p><br>
<p>A.D. Huesing Bottling Plant and Garage (1912)</p><br>
<p>Fire Station #5 (1914)</p><br>
<p>Eagles Building (1914)</p><br>
<p>Fire Station #6 (1916)</p><br>
<p>Long View Park Chalet (1917)</p><br>
<p>Ward residence (1918)</p><br>
<h2>Architecture</h2><br>
<p>Stauduhar designed his own home in 1895 utilizing an eclectic style with Free Classic influences. It features a tile roof, a Classical pediment that sits on top of two-story columns, rounded bays, twisted copper downspouts and different window shapes used throughout the structure. Originally the second and third stories were covered in cedar shingles. They were replaced by stucco after a 1918 fire. On the interior the dining room features a barrel-vaulted ceiling and elaborate woodwork in the entry hall.</p><br>
<p>The Sala Apartment Building is a historic building located in Rock Island, Illinois, United States. It was individually listed on the National Register of Historic Places in 2003.</p><br>
<h2>History</h2><br>
<p>The building was built in two sections. The southern section was built in 1903, and the northern section was built 10 years later. It is one of the earliest multiple family dwellings in the city of Rock Island. Both sections were built by Dr. St. Elmo Morgan Sala. He was from a family of physicians and graduated from Keokuk Medical College in 1882 and started his practice in Rock Island. Before building the apartment building the Salas lived in a home on 19th Street. The building was built south of their house. When the first section was completed they moved into apartment 101 and his office moved into the commercial space below. Dr. Sala died in 1921 and his wife, Mary Elizabeth, inherited the property. She married Judge Robert W. Olmsted and after she died, Judge Olmsted purchased the building from her estate in 1936. It was later inherited by his daughters.</p><br>
<h2>Architecture</h2><br>
<p>Rock Island architect Leonard Drack designed the southern section of the apartment building and C.D. McLane designed the northern section. The building consists of 25 apartments that are arranged around five interior light wells. It was built on top of a raised basement, which contained three commercial spaces, three apartments, and storage. The foundations are built of six-course ashlar limestone, and the upper stories are covered in beige pressed brick. Three entrances in the Classical style, and placed symmetrically in the building, feature stone corner pilasters, a narrow Roman Ionic capital with an egg-and-dart detail, and a stone entablature with the name “Sala.”</p><br>
<p>The apartments feature their original oak and pine woodwork, fireplaces, radiators, porcelain bathroom fixtures and some original light fixtures. The American Craftsman style is found in the north section. It is found in most of the dining rooms, which feature vertical panel wainscoting strips and high plate rails. The stair rails and fireplaces also reflect the simplicity of the style.</p><br>
<p>The Robert Wagner House is an historic building located in Rock Island, Illinois. It was designated as a Rock Island Landmark in 1984, individually listed on the National Register of Historic Places in 1990, and became part of the Broadway Historic District on the National Register in 1998.</p><br>
<h2>History</h2><br>
<p>Robert Wagner was the son of George Wagner who owned Atlantic Brewery in Rock Island. He received his education from the University of Iowa and the United States Brewers Academy in New York City. After completing he studies, he worked as a foreman in his fathers brewery before joining his father to manage the business. In 1892 the three breweries in Rock Island consolidated to form the Rock Island Brewing Company. Wagner served as its president for three decades. After Prohibition he entered banking and served as the president of American Trust and Savings Bank and People&#39;s National Bank.</p><br>
<h2>Architecture</h2><br>
<p>The Wagner home was designed in the Neoclassical style by Frederick G. Clausen of Davenport, Iowa and was built in 1904. It features a three-bay front façade with a central entrance, a balcony, and a two-story portico. The pediment above the porch is supported by pairs of fluted Ionic columns. Bracketed eaves extend along the cornice below a deep overhang. Larger brackets support the entrance balcony. Galleries with turned spindles and urn-shaped finials flank the entrance. The gallery on the north is extended to form a porte cochere. On the north side of the home is a beveled and leaded stairway window. A two-story bay on the south side features a “bottle glass” window. On the interior, the grand staircase features a semi-circular balcony. Original mechanical devices in the home include a speaking tube, doorbell system and a corner light system.</p><br>
<p>The Weyerhaeuser House, also known as House on the Hill, is a building in Rock Island, Illinois, United States. It was built in 1865 and listed on the National Register of Historic Places in 1975. The home is now part of the Augustana College campus.</p><br>
<h2>History</h2><br>
<p>Frederick Weyerhaeuser (1834–1914) was a native of Nieder-Saulheim, in the independent Grand Duchy of Hesse, in present-day Germany. He immigrated to the United States in 1856. Weyerhaeuser and his brother-in-law, Frederick Denkmann, founded the Weyerhaeuser and Denkmann Lumber Company in Rock Island. The company continues today as the Weyerhaeuser Company with its offices in Federal Way, Washington. As the company prospered Weyerhaeuser bought a house in 1865 and re-built it from 1882 to 1883. In 1900 Weyerhaeuser and fifteen partners bought 900,000 acres of timberland in Washington state. The local partnership ended in 1905 when Denkmann died; Frederick Weyerhaeuser and his wife had moved to Washington by this time. He died in 1914 in Pasadena, California, and is buried in Chippiannock Cemetery in Rock Island. After Weyerhaeuser moved from the house his daughter Apollonia and her husband Samuel S. Davis lived in the house. They were leaders in industry, society, and philanthropy in the city of Rock Island.</p><br>
<p>The home remained in the Weyerhaeuser family for 85 years before it was donated to Augustana College in 1954. The first floor of the home is now used for entertaining college and community guests. Female students are housed in apartments on the second and third floors. The building is maintained by an endowment created by friends of the college, with support from descendants of the Weyerhaeuser family.</p><br>
<h2>Architecture</h2><br>
<p>When Frederick Weyerhaeuser bought the house in 1865 it was a two-story brick structure with a square cupola. He had it rebuilt in 1882–1883 in the Second Empire style. Added to the original structure are the west entrance hall, additional rooms, bathrooms, and the third floor. The third floor features a mansard roof, and a tower room was built over the main entrance. A large tank on the third floor supplied water to the entire house. The dining room was enlarged and elaborate woodwork, carvings, and the John LaFarge stained glass window above the fireplace were added in 1888. It is the most elaborate Second Empire structure in Rock Island.</p><br>
<p>The Cramptons Gap Historic District comprises the battlefield where the American Civil War Battle of Cramptons Gap, part of the larger Battle of South Mountain, took place on September 14, 1862. The district extends on the west to the foot of South Mountain, and to the east of Burkittsville, beyond the eastern foot of the mountain. The district is characterized by steep mountain terrain in the west and open farmland in the east, with the small town of Burkittsville in the center, which is itself listed as a historic district on the National Register of Historic Places. The district extends to the south to include Brownsville Gap. The district includes 98 contributing buildings, 78 of which are in the Burkittsville Historic District. Crampton&#39;s Gap at the crest of the mountain is encompassed by Gathland State Park, which features the War Correspondents Memorial Arch, erected in 1896 to memorialize journalists killed in wartime. The arch is listed on the National Register as part of Antietam National Battlefield. The mountainous portions of the district feature numerous stone walls, which were used by both sides for shelter against gunfire during the battle.</p><br>
<p>The district was placed on the National Register of Historic Places on January 12, 2011.</p><br>
<p>The Henry Smeltzer Farmstead is a historic home and farm complex located near Middletown, Frederick County, Maryland, United States. It includes a two-story six-bay brick farmhouse dating to about 1832, a frame bank barn ruin, and several rusticated concrete block silos. A concrete block slaughter house, weighing house well house and holding pens complete the complex, which was associated in the early and mid-twentieth century with Main&#39;s Meats in Middletown. The house is built into the hillside as a "bank house", with its cellar above grade on the south side. The front and rear elevations feature porches across their widths.</p><br>
<p>The Henry Smeltzer Farmstead was listed on the National Register of Historic Places in 2010.</p><br>
<p>Prairie View, also known as the Betteridge Property and Crestmead, is a historic plantation house located at Pleasant Green, Cooper County, Missouri. It was built in 1859 by John Taylor, and is a two-story, Italianate/Greek Revival style frame dwelling with a -story rear ell. It features a single story porch with fluted Doric order columns and paired brackets in the eaves. It is notable for its contribution to local commerce and agriculture of the region. The plantation utilized slave labor from the time of its completion until the end of the Civil War. The Prairie View plantation is a private residence and the current owners are Robert and Ann Betteridge. The Betteridge family have owned Prairie View since 1903 when Robert Betteridge&#39;s grandfather William Betteridge bought the house and legally changed the name from Prairie View to Crestmead.</p><br>
<p>Prairie View was listed on the National Register of Historic Places in 1982.</p><br>
<p>More than half of the original plantation was destroyed by fire March 3, 2008. Over the course of several years the home was restored to its original state.</p><br>
<p>The War Eagle Bridge is a historic bridge in War Eagle, Arkansas, United States, that is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>The one-lane steel truss bridge is located on War Eagle Road (County Road 98), passing over the War Eagle Creek. It was built in 1907 and adjoins the War Eagle Mill.</p><br>
<p>The construction plans and drawings, contract, and correspondence are available at the Benton County Courthouse.</p><br>
<h2>History</h2><br>
<p>The bridge occupies the site of a ford that has been used since the 1830s. Sylvanus Blackburn built a two-story log house near the west side and a mill on the east side of the ford in 1832. By the early twentieth century the mill was producing 40 barrels of flour per day, creating a need for better access to local markets.</p><br>
<p>The bridge was constructed in 1907 by the Illinois Steel Bridge Company of Jacksonville, Illinois, for a contracted amount of $4,790. It is the only Parker truss bridge in northwest Arkansas, and one of only seventeen steel truss bridges in the state. It has a span of 182 ft, and an approach of 40 ft on the east side of the bridge. The stone range work pier and abutment on the eastern end and wooden planking for the bridge flooring were provided locally. The stone pier and abutment were replaced with a concrete structure in 1982.</p><br>
<p>The bridge was listed on the National Register of Historic Places on November 19, 1985.</p><br>
<p>Rota Latte Stone Quarry, also known as the As Nieves quarry, is located near the Chamorro village of Sinapalo, on the island of Rota in the Marianas Archipelago. The prehistoric megaliths found there are believed to have been used as foundation pillars for houses, with some of them weighing up to 35 tons. Their exact age, origin, methods of quarrying and means of transportation have not been determined.</p><br>
<h2>Latte stones</h2><br>
<h2>The quarry</h2><br>
<p>The Rota quarry is the site of the largest unearthed latte stones in the Marianas. Nine haligi and seven tasa have been found there.</p><br>
<p>Some of the abandoned megaliths would stand approximately 25 ft high if the haligi had been topped with tasa and erected upright. The tasa at the quarry measure approximately 7 ft across and 5 ft high. The stones are unfinished, and there is no record or indication of why the site was suddenly abandoned.</p><br>
<h2>Theories</h2><br>
<p>Theories have been put forward regarding the methods of quarrying, transporting and erecting the latte stones, but nothing has been scientifically proven.</p><br>
<p>When upright, the megaliths from Rota Latte Stone Quarry would be per 0.5 m taller than the tallest existing latte stones at the House of Taga in Tinian Island. This might be indicative of competition between different groups, striving to build the most impressive sets of latte stones.</p><br>
<p>Legend credits the origin of the quarry to a mythological chief named Taga, who quarried the stones at Rota before abandoning the site and later erecting the House of Taga on Tinian. A different legend tells of ghosts carrying the stones.</p><br>
<p>The House of Taga  is an archeological site located near San Jose Village, on the island of Tinian, United States Commonwealth of the Northern Mariana Islands, in the Marianas Archipelago. The site is the location of a series of prehistoric latte stone pillars which were quarried about 4,000 ft south of the site, only one of which is left standing erect due to past earthquakes. The name is derived from a mythological chief named Taga, who is said to have erected the pillars as a foundation for his own house.</p><br>
<h2>The structures</h2><br>
<p>The prehistoric latte stone pillars (also called taga stones) at House of Taga stood 15 ft high, and were quarried about 4,000 ft south of the site. The original megaliths consisted of a base (haligi) and a hemispherical cap (tasa). When uprighted in spaced parallel rows, it is believed a house was built on top. Of the twelve upright stones sketched by British explorer George Anson during his 1742 visit to Tinian, only one remains standing. The As Nieves Rota Latte Stone Quarry is believed to be the Marianas origin of the period of these megalith structures.</p><br>
<h2>Legend of Chief Taga and his house</h2><br>
<h3>Alexander Spoehr</h3><br>
<p>In his 1957 published work Marianas Prehistory: Survey and Excavations on Saipin, Tinian and Rota, anthropologist Alexander Spoehr noted that the House of Taga had most likely been the central latte structure among eighteen such structures on Tinian. According to legend collected by Spoehr, a 10 ft tall Guam chief named Taga married a Rota woman. The chief began the Rota Latte Stone Quarry to carve stone for their home. Midway through, he changed his mind and instead built the house on Tinian.</p><br>
<h3>Variation</h3><br>
<p>One variation on that story also puts Taga&#39;s origins at Guam. As a child, he began demonstrating such super-human strength that his own father was jealous and tried to kill him. Taga escaped from his father by jumping off a cliff on Guam and landing on Rota, almost 50 mi away. On Rota, Taga grew to adulthood and became a braggart about his prowess. According to the legend, it was Taga who began the As Nieves Quarry on Rota and abandoned it for reasons that are unclear.</p><br>
<p>Taga married and had a family, and they sailed to Tinian. His reputation had preceded him, and the chief of Tinian presented several challenges to test Tagas strength. The chief was subsequently so impressed with Tagas abilities that he named Taga the chief of the island. Taga carved the latte stones to single-handedly build his Tinian house and a village for his people. He carried the multi-ton pillars all by himself. As the years passed, while on a trip to Saipan, Tagas wife gave birth to a son that Taga bragged about to no end. Tagas brother tired of all the bragging and challenged Taga to a contest, which ended in a draw between the two brothers. This was the end of Taga&#39;s bragging.</p><br>
<p>Eventually, Taga and his wife were the parents of twelve children. When Taga realized that his youngest son had greater strength than he, Taga flew into a jealous rage and murdered his son. Tagas wife died of grief. His youngest daughter then speared Taga to death and died of a broken heart. As each of Tagas twelve children died, their spirits inhabited the latte stones of his house. Each spirit was released by the individual latte stone falling to the ground. The lone standing megalith today is said to imprison the spirit of the daughter who murdered Taga.</p><br>
<p>The Ausadie Building, at 845 First Ave. SE, in Cedar Rapids, Iowa is a historic building that is listed on the National Register of Historic Places . It is a three-story building on a footprint 44 ft wide by 127 ft deep and was built in 1923. It was designed by architect William J. Brown of Cedar Rapids. The design shows some Colonial Revival influence and interior features reflect some Bungalow/Craftsman styling.</p><br>
<p>It was listed on the NRHP in 2004. The listing includes a multiple dwelling, a secondary structure, and a garden.</p><br>
<p>The building was built by Loomis Bros. Construction, who also built the Consistory Building No. 2 at 616 A Ave. NE, in Cedar Rapids, another NRHP-listed building.</p><br>
<p>The Turners and Foxs Gaps Historic District comprises the Civil War-era battlefield involved in the Battle of South Mountain, which took place on September 14, 1862. The district extends on the west to the slopes of South Mountain in the area of Zittlestown, and to the east beyond the foot of the mountain to the small community of Bolivar. The district is characterized by steep mountain terrain in the west and open farmland in the east, with Turners Gap to the north and Foxs Gap to the south. The district includes 115 contributing buildings and structures. The most significant contributing buildings are the Mountain House Inn  and the White House Inn, or Beachley House. Also included in the list is the Reno Monument at Foxs Gap, shown at right. The Old National Pike, now known as USA 40 Alternate, passes over South Mountain at Turners Gap.</p><br>
<p>The district was placed on the National Register of Historic Places on January 12, 2011.</p><br>
<p>The Wisconsin Consistory Building, also known as the Humpfrey Scottish Rite Masonic Center, is a historic structure in Milwaukee, Wisconsin that was built as a Romanesque-style Congregational church in 1889, then bought by a Masonic order and remodeled to an Art Moderne style in 1937. In 1994 it was listed on the National Register of Historic Places.</p><br>
<p>The frame of the Consistory building was built by Plymouth Congregational Church. Plymouth had roots in First Congregational Church, organized in 1841. In 1847 part of that congregation split off into a separate congregation which became Plymouth Congregational. By 1861 the congregation was large and wealthy, including businessmen and professionals like architect E. Townsend Mix. Under Pastor Judson Titsworth, Plymouth aimed to be a "peoples church," ministering to the community with social programs like the Third Ward Mission, a boys club, adult education, a reading room, and the Milwaukee Rescue Mission.</p><br>
<p>In 1888 Plymouth undertook the building of a new church, the frame of the current building at Van Buren and Wells. Member Mix designed a Richardsonian Romanesque-styled building. To serve the community, the building included a 1200-seat auditorium, reading rooms, a parlor, classrooms, a gym and dining facilities. (A photo of the old building is at the MPL link below.) The large corner tower was not typical of the style, and the design was criticized.</p><br>
<p>By 1912, many in the congregation were moving and the congregation moved to a new building near modern UW-Milwaukee. They sold the building to the Scottish Rite Masons. These masons initially called the building the Consistory Building, for the Consistory - a body within the Scottish Rite organization. Later, that body&#39;s pre-eminence declined, the building was shared equally by other Scottish Rite bodies, and the building was called the Scottish Rite Masonic Center.</p><br>
<p>The building worked well for the masons, but by the 1930s they needed more space. When other plans fell through, they hired Herbert Tullgren, a Mason himself, to design an overhaul of the exterior. Tullgren re-clad the old building with a new roof and Art Deco styling. In addition to Masonic purposes, it is used as a rental wedding and banquet hall.</p><br>
<p>As membership and general needs changed over the past decade, the building was eventually put up for sale and sold to a development company in October 2017 closing a 106-year history of Scottish Rite occupancy and ownership of the historic site.</p><br>
<p>The Eau Claire Masonic Center, also known as the Temple of Free Masonry, is a historic Masonic building located at 616 Graham Avenue in Eau Claire, Wisconsin. It was built in 1927 in the Neoclassical architectural style and was listed on the National Register of Historic Places in 1988.</p><br>
<p>The building was designed by Edward J. Hancock and contains 47,000 ft&sup2; of floor space, including an auditorium, ballroom, dining room, meeting rooms, and offices. It served historically as a meeting hall for Masonic orders. Since the mid-1990s it has also been the rain/rehearsal site for the Eau Claire Municipal Band.</p><br>
<p>The Jacob M. Funk Farm, also known as the Heaton House, is a historic farm in Washington County, Maryland, listed on the National Register of Historic Places. The 7.6 acre property includes a stone house, barn, springhouse and dairy house, all built of local stone. The buildings were built between 1800 and 1840, and represent an outstanding group of early 19th century stone German vernacular buildings of a type common to the area.</p><br>
<p>The house is two stories in an L-shape, with a frame addition. There are five rooms downstairs with an entry/stair hall, with a similar arrangement upstairs. A cellar includes traces of an older house that was incorporated into the new house. It features a fireplace that retains two swivel cooking cranes. The barn is a stone a frame structure of the "Sweitzer" kind, with stone ends.</p><br>
<p>The Jacob M. Funk Farm was listed on the National Register of Historic Places in 2006.</p><br>
<p>The Jones Cash Store was a mail order catalog business established by Portland, Oregon, entrepreneur Henry J. Ottenheimer in 1882, and is a building listed on the National Register of Historic Places. Before moving to a larger, more prominent location, the Jones Cash Store operated out of a building at 80 and 82 Front Street in the downtown area of Portland. As popularity of the mail order catalog grew throughout the Pacific Northwest, Henry sought to find a larger building within which to operate. He later purchased the property at 111 SE Belmont Street and began construction on his state-of-the-art 80,000 ft&sup2; catalog supply store. Because of its location by the railroad tracks and the river, the store could easily ship and receive goods by railroad, steamer ship, and via truck. The building remained the Jones Cash Store until 1929 at which time it was sold to Montgomery Ward.</p><br>
<p>Since 1929, the building has been used as a cold storage facility, a fresh produce distribution facility, an electrical supply warehouse, a bicycle supply warehouse, and several other uses. In 2009, Belmont & Morrison LLC was formed with the intent of saving the venerable old building from the wrecking ball. During the latter half of 2009 and continuing into 2010, a major architectural and structural rehabilitation was done of the entire facility. As a result, the building is now more structurally sound than it ever was at any point in its history. All work has been done to current building standards while maintaining as much of the historic look and feel of the building as possible. The building is now used by a local self-storage company named Rose City Self Storage & Wine Vaults.</p><br>
<p>The Mordecai Lincoln House is a historic house in Exeter Township, Berks County, Pennsylvania built c. 1733 by Mordecai Lincoln, the great-great-grandfather of President Abraham Lincoln. The house stands in the narrow valley of Hiester Creek on a 9-acre plot near the village of Lorane on Lincoln Road.</p><br>
<h2>History</h2><br>
<p>President Lincoln had only a vague knowledge of his Pennsylvania ancestors, believing that they were Quakers from Berks County. The first Mordecai Lincoln lived in Scituate, Massachusetts. Two of his sons, Abraham and Mordecai Jr., the president&#39;s great-great-grandfather, first moved to New Jersey before 1714 and then to Pennsylvania in 1720. Mordecai Jr. settled near the present day Coventryville, Chester County and became a partner in the Coventry Forge with Samuel Nutt Sr. and William Bransom, then selling that interest for five hundred pounds in 1726. He moved to Amity Township, Philadelphia County (now Exeter Township, Berks County) sometime after 1727.</p><br>
<p>In 1729 Mordecai Jr. leased a thousand-acre farm and married his second wife, Mary Robeson. He later bought the farm and built his house on it about 1733. The house was enlarged about 1760 and a separate summer kitchen was built in the early nineteenth century.</p><br>
<p>The Mordecai Lincoln House is four miles south of the Daniel Boone Homestead, birthplace of famous frontiersman Daniel Boone, and the two families clearly were acquainted. Mordecai Lincoln Jr. served as a justice of the peace, road inspector, and militia captain or commissioner for defense against the Indians. He died in 1736, shortly before the birth of a son, also named Abraham. This Abraham married the first cousin of Daniel Boone, Anne Boone, who was a Quaker but who was censured by the Exeter Friends Meeting for marrying a non-Quaker. This fact indicates that the Lincolns were not Quakers, even though Mordecai Jr. is believed to be buried in the Exeter Friends Burial Ground. In his will, Mordecai Jr. left land in New Jersey to his sons by his first wife. His land in Pennsylvania was left to his sons by his second wife, with his son Mordecai inheriting the house.</p><br>
<p>John Lincoln, the eldest son of Mordecai Jr., was great-grandfather of President Lincoln. He was born in 1716 in New Jersey and owned several pieces of land in Lancaster and Berks counties. He lived at least 35 years in Pennsylvania, including 8 years in Amity Township. In 1765 he sold his Pennsylvania land before moving to the Shenandoah Valley in Virginia. Several of his descendants were also named Mordecai or Abraham.</p><br>
<h2>Architecture</h2><br>
<p>The 1733 section of the house, with its gable facing the road, is banked into the hill with two stories rising above the basement level. Viewed from the road, It is about 30 feet wide by 20 feet deep, with two rooms, one on each side. It is one of the oldest English-style houses in Berks County, and resembles the Penn Plan design propagated by William Penn in the early days of Pennsylvania. Nevertheless, with the gable-end to the front and its banking into the hill, it also resembles the German vernacular style common in Berks County in the eighteenth century. The basement contains a walk-in fireplace about 7 feet wide.</p><br>
<p>The 1760 addition is stepped up the hill by about 11 inches and has a similar plan. It is about 30 feet wide and 36 feet deep. The walls of both sections are 18 inches thick and constructed of local stone. Dormers were added to the roof about 1830, and have been retained in the restoration that began in 1987. The summer kitchen, about 20 feet south of the 1760 addition, was built in the early nineteenth century. It is constructed of red sandstone, but is now painted white. It has 2 stories plus a large basement and includes another walk-in fireplace on its first floor.</p><br>
<p>The house was used as a farmhouse into the twentieth century. For about 20 years ending in 1987 it was abandoned and neglected, with a large hole in the roof opening up. A complete renovation in 1987-88 returned the house to its c. 1760 form.</p><br>
<p>The Surrogates Courthouse  is a historic building at the northwest corner of Chambers and Centre Streets in the Civic Center of Manhattan in New York City. Completed in 1907, it was designed in the Beaux Arts style. John Rochester Thomas created the original plans while Arthur J. Horgan and Vincent J. Slattery oversaw the buildings completion. The building faces City Hall Park and the Tweed Courthouse to the south, as well as the Manhattan Municipal Building to the east.</p><br>
<p>The Surrogates Courthouse is a seven-story steel-framed structure with a granite facade and elaborate marble interiors. The architects used a fireproof frame so the structure could safely accommodate the citys paper records. The exterior is decorated with 54 sculptures by Philip Martiny and Henry Kirke Bush-Brown, as well as three-story colonnades with Corinthian columns along Chambers and Reade Streets. The basement houses the New York City Municipal Archives. The fifth floor contains the New York Surrogate&#39;s Court for New York County, which handles probate and estate proceedings for the New York State Unified Court System.</p><br>
<p>The Hall of Records building had been planned since the late 19th century to replace an outdated building in City Hall Park; plans for the current building were approved in 1897. Construction took place between 1899 and 1907, having been subject to several delays because of controversies over funding, sculptures, and Horgan and Slatterys involvement after Thomass death in 1901. Renamed the Surrogates Courthouse in 1962, the building has undergone few alterations over the years. The Surrogates Courthouse is listed on the National Register of Historic Places as a National Historic Landmark, and its facade and interior are both New York City designated landmarks.</p><br>
<h2>Site</h2><br>
<p>The Surrogate&#39;s Courthouse is in the Civic Center neighborhood of Manhattan in New York City, just north of City Hall Park. It occupies an entire city block bounded by Chambers Street to the south, Centre Street to the east, Reade Street to the north, and Elk Street to the west. Other nearby buildings and locations include 49 Chambers and 280 Broadway to the west; the Ted Weiss Federal Building and African Burial Ground National Monument to the northwest; the Thurgood Marshall United States Courthouse to the northeast; the Manhattan Municipal Building to the east; and the Tweed Courthouse and New York City Hall to the southwest, within City Hall Park.</p><br>
<p>The ground slopes downward from south to north; the original ground elevation was below Reade Street and close to sea level. The surrounding area contains evidence of the interments of individuals, mostly of African descent, but the foundations of the Surrogates Courthouse may have destroyed any remnants of corpses on the site. In the 18th and early 19th centuries, the Surrogates Courthouse site was on a hill called "Pot Bakers" or "Potters Hill", so named because several families in the pottery industry lived or worked nearby. Before the completion of Elk Street in 1901, the site was part of a larger city block bounded by Broadway and Chambers, Centre, and Reade Streets.</p><br>
<h2>Architecture</h2><br>
<p>The Surrogates Courthouse was designed in the Beaux-Arts style, John Rochester Thomas being the original architect. After Thomass death in 1901, Arthur J. Horgan and Vincent J. Slattery oversaw the completion of the plan. Their relatively unknown firm had connections to the politically powerful Tammany Hall organization of the time. The final design largely conforms to Thomas&#39;s original plans, though Horgan and Slattery were mostly responsible for the sculptural ornamentation. The building has undergone relatively few alterations since its completion in 1907.</p><br>
<p>The Surrogates Courthouses seven-story granite facade wraps around the buildings structural frame, while the interiors are elaborately designed in marble. The building was designed to be fireproof to house the citys paper records safely. Besides housing the Surrogates Court for New York County, the building contains the New York City Municipal Archives, the New York City Department of Records and Information Services (DORIS)s City Hall Library, and the New York City Department of Cultural Affairs.</p><br>
<h3>Facade</h3><br>
<p>The facade of the Surrogates Courthouse consists mostly of granite from Hallowell, Maine, with ashlar masonry. It is split vertically into a two-story rusticated base, a three-story midsection, a sixth story and a seventh story in a mansard roof. The northern and southern elevations are split vertically into five bays, with multiple windows on each floor in the center bays, while the western and eastern elevations are split into three bays. The eight pillars on Chambers Street are full columns, while the other pillars are half-columns whose rear sections have been cut away. The largest columns pedestals measure 2 ft thick and weigh an estimated 6 LT. The capitals measure 6 ft thick and weigh an estimated 15 LT.</p><br>
<p>The central portion of the southern (Chambers Street) elevation contains three double-height arched doorways, each of which contains a pair of doors and a window with bronze grilles. The doorways are flanked by granite columns, each cast from a single granite slab and topped by modified composite capitals. There are side entrances at the center of the western elevation on Elk Street, from which there is a small flight of steps, as well as at the center of the eastern elevation on Centre Street. The Reade Street elevation contains a wheelchair-accessible entrance. An areaway, measuring 3 to 5 ft wide, surrounds the building.</p><br>
<p>On the northern and southern elevations, the central five windows of the third through fifth stories are flanked by a projecting Corinthian style colonnade with four single columns between two paired columns at either end. On all four elevations, the outermost bays are designed with window openings on the second, third, fifth, and sixth stories, and sculptures around porthole windows on the fourth story. The remaining six windows on the north and south, and the center nine windows on the west and east, are slightly recessed behind the end bays, with different window designs on each story. An entablature and a cornice runs above the fifth story, and another cornice runs above the sixth story. The seventh story contains dormer windows with carved hoods, projecting from the mansard roof in all except the end bays.</p><br>
<h4>Sculptures</h4><br>
<p>The exterior features fifty-four sculptures by Philip Martiny and Henry Kirke Bush-Brown. Like the rest of the facade, the statues were carved from Hallowell granite. The tops of the figures are nearly 150 ft above the sidewalk.</p><br>
<p>On Chambers and Centre Streets, Martiny carved 24 standing figures at the sixth floor, under the cornice. The Centre Street sculptures, depicting Justice and Authority, were removed in 1959; they were relocated to the New York County Courthouse.</p><br>
<p>On all four sides, Bush-Brown designed groups of allegorical figures for the roof. A similar dormer at the center of Reade Street has figures depicting Instruction, Study, Law, and History. The central Centre Street dormer has figures of Inscription and Custody and the central dormer on the west side has Industry and Commerce.</p><br>
<h3>Interior</h3><br>
<h4>Entrance vestibules</h4><br>
<p>The rectangular entrance vestibule from Chambers Street contains rusticated yellow marble-clad walls. Just opposite the arched entryways is an arcade with decorative cartouches. Double doors made of mahogany are set within marble doorways at either end of the vestibule. Of the four mosaic murals, three depict the probate process (in reference to the Surrogates Court) and the other depicts the continuity of records. The ceilings triangular mosaic panels depict Egyptian and Greek motifs along with zodiac signs. The mosaic tiles are mostly colored red, green, and blue on dull gold. The vestibule also contains a bronze chandelier, ornamental bronze radiators and a patterned marble floor.</p><br>
<p>Smaller entrance vestibules also exist on the west and east ends of the Surrogate&#39;s Courthouse; they are largely similar, except for the steps outside the west vestibule. Decorative bronze-and-glass enclosures frame the doorways, while there are mosaic lunettes over the two side doors from the vestibules.</p><br>
<h4>Lobby and lower stories</h4><br>
<p>The entrance vestibules lead to the main lobby, a triple-story space whose design was inspired by that of the Palais Garnier, the opera house of the Paris Opera. Yellow Sienna marble was used throughout the lobby. Surrounding the lobby space on the first floor is an arched gallery with rusticated piers, scrolled keystones, red marble roundels, and garlands linking the roundels and keystones. A decorative frieze runs above the first floor gallery. A marble double staircase with balustrade flanks the western entrance archway on the first floor, ascending two flights to an intermediate landing, where a single flight leads to the second floor. On the second floor is a colonnaded gallery containing engaged columns with Ionic-style capitals. The tops of the lobby walls contain decorative entablatures. The ceiling has a bronze elliptical arched vault reaching the height of the third floor. Within the arched vault is a gable-shaped skylight measuring 40 by.</p><br>
<p>The hallways on the first floor contain marble walls and multicolored patterned marble floors. The passageways contain groin vaulted ceilings with chandeliers. There are recessed mahogany double-doors leading to the offices, as well as red marble roundels above each doorway. Service functions, such as fuse boxes, are contained within bronze boxes. The second-floor gallery&#39;s arches divide the gallery into bays. Within each bay, there are shallow, domed ceilings supported on decorative pendentives, and a cornice runs beneath each dome. On the walls, there are arched openings with mahogany double doors. Above the double staircase in the lobby, a balustraded staircase rises from the second-floor gallery to the third floor, with an intermediate landing above the double stairway.</p><br>
<h4>Upper stories</h4><br>
<p>The third through fifth floors are largely similar in plan and surround an interior light court above the lobby. These floors are connected by a staircase similar in design to the one connecting the second and third floors. The floor surfaces of the third through fifth stories are made of mosaic tile, and the walls consist of gray-veined marble panels. Each story contains different decorative designs on the frames surrounding the doorways and on the openings facing the light court.</p><br>
<p>The two Surrogates&#39; courtrooms, on the fifth floor, Part of the original design, the rooms contain similar layouts with minor differences in decorative detail. The courtrooms have gilded, paneled plaster ceilings with decorative reliefs and ornate chandeliers.</p><br>
<h4>Basement</h4><br>
<p>The building is surrounded by foundation walls measuring 36 ft deep. The vaults of the buildings basement extend underneath both Chambers and Reade Streets, descending 40 ft under Chambers Street and 30 ft under Reade Street. The Surrogates Courthouse had been designed with a small power plant in the basement, which provided power to the building and served neighboring municipally owned buildings.</p><br>
<p>When the building was completed, its basement had four record rooms. By the 21st century, the basement contained the municipal government&#39;s City Hall Library as well as the Municipal Archives. The library consists of two publicly accessible reading rooms, as well as several storerooms beneath the main basement for the Municipal Archives. The collection contains over 400,000 publications, including 66,000 books and 285,000 newspapers, journals, magazines, and periodical clippings. The material in the collection totals over 200,000 ft&sup3;.</p><br>
<h2>History</h2><br>
<h3>Background</h3><br>
<p>In 1831, the original Hall of Records opened northeast of City Hall on the site of the "New Gaol", the old city jail, in present-day City Hall Park. The New Gaol building dated from the late 1750s. The New-York Mirror described the original building as a Grecian-style structure with marble-columned porticoes on each side, as well as stucco walls, a copper roof, and masonry floors. By the late 19th century, the structure housed records pertaining to properties worth a total of $4 billion.The New York City Bar Association had advocated the construction of a new Hall of Records as early as 1889. The New York City Department of Health reportedly "repeatedly condemned" conditions in the old building.</p><br>
<h3>Development</h3><br>
<p>The state legislature authorized a new Hall of Records building in early 1897, and the Board of Estimate recommended a 40,000 ft2 site on the west side of Centre Street, between Reade and Chambers Streets. The site was valued at $1.3 million at the time of its approval (about $ million in ).</p><br>
<h4>Design and land acquisition</h4><br>
<p>Initially, the city government had contemplated hosting a new architectural design competition for the new Hall of Records, but advocates of the new buildings construction worried that the competition would introduce unnecessary delays. Instead, they suggested that the city hire John R. Thomas, From the 134 plans submitted, The municipal building for which Thomas had prepared plans had been canceled in 1894. Despite the municipal buildings cancellation, the city paid Thomas $7,000 for his plans.</p><br>
<p>Thomas was selected as the Hall of Records architect upon the urging of then-mayor William Lafayette Strong. Strong, who had been elected on a platform of political reform in 1895, said the city government could save money by adopting Thomass existing plans.</p><br>
<p>Difficulties in acquiring the plots for the building&#39;s site delayed the start of work. Some of the old buildings on the site were sold in early 1898. Other property owners resisted the seizure of their property through eminent domain. The resistance of one landowner (the Wendel family, which owned a myriad of Manhattan properties and had a policy to "never sell anything") required the state legislature to pass a special act to obtain the small portion of the site owned by the Wendels. Lessees also objected to the fact that they would not be compensated for the unexpired terms of their leases.</p><br>
<h4>Start of construction</h4><br>
<p>Thirteen companies submitted bids for granite in December 1897. John Peirce won the contract to supply white Hallowell granite; his bid had been the highest, at $1.997 million, but the city hired him anyway because of his reputation as a granite supplier.</p><br>
<p>Work on the foundations began in early 1899, but was halted after about ninety days. Peirce filed a lawsuit in July 1899 to receive payment for the granite he had supplied, and the State Supreme Court issued a mandamus to authorize a bond issue to pay Pierce. The City Council passed a bill to that effect on August 3. The City Council adopted a resolution in a contentious vote the following week authorizing the issuance of $2.1 million in bonds (about $ million in ) for the buildings construction; the City Council president Randolph Guggenheimer was called to cast the deciding vote. Guggenheimer said the bonds could be placed for sale. Construction resumed in September 1899; the construction contract stipulated that the buildings walls and roof be finished within 550 workdays. The city issued $450,000 in bonds in January 1900 and issued the remaining $1.6 million in bonds that December.</p><br>
<p>Meanwhile, the Tammany Hall-affiliated Robert Anderson Van Wyck had won the 1897 mayoral election, taking office the next year. Thomas called the alternate plans impractical, saying that the foundations could not support additional stories.</p><br>
<p>Van Wyck also appointed Horgan and Slattery in 1899 to conduct a report on possible ways to reduce the cost of the interior furnishings. The original interior cost was to be $2.5 million (about $ million in ). Following Horgan and Slatterys recommendations, the interior appropriation was reduced by $1 million (about $ million in ). Thomas unsuccessfully sought to have the appropriation restored, saying that the buildings design would be "spoiled" if he did not have at least $2.25 million. When Van Wyck threatened to fire Thomas, the architect agreed to reduce the cost of the interior to $1.9 million. The Board of Estimate requested bids for interior decoration in June 1900. The board rejected all the bids, saying the comptroller&#39;s office had received anonymous complaints that Thomas had shown favoritism to certain contractors.</p><br>
<h4>Change of architect and completion</h4><br>
<p>Guggenheimer laid the buildings cornerstone at a ceremony on April 13, 1901. After Seth Low won the 1901 New York City mayoral election, he reversed some of the changes made to Thomass plan. Pierce began installing some of the facade&#39;s smaller pillars in March 1902, The columns were so heavy that two derricks had to be used to lift each column.</p><br>
<p>Early in 1903, the Board of Estimate moved to approve Thomass original plans for the interior of the new building. Horgan and Slattery unilaterally hired Philip Martiny to design the buildings sculptures that year, and Henry Kirke Bush-Brown was hired to design additional sculptures. The few samples that Horgan and Slattery did submit to the Municipal Art Commission were minor architectural details such as pedestals. Low upheld Martinys and Bush-Browns contracts in June, which The New York Times estimated to be worth $75,000,</p><br>
<p>As late as 1904, there were plans to convert the nearly complete building into one wing of a new county courthouse. Three city departments were scheduled to move into the new Hall of Records building in May 1904, when their existing leases expired, but the building was not complete at the time. Further delays were announced in May 1905, including the plan for Horgan and Slattery to remodel the not-yet-complete interior for $500,000. The Board of Estimate received four bids for the interior outfitting in June 1905, of which the lowest bid was $1.33 million, but the citys borough presidents initially refused to provide additional money for the interiors. City controller Edward M. Grout requested that the Board of Estimate grant the appropriation; at the time, the total construction cost was estimated at $7.84 million. A New-York Tribune report that November claimed that, had the building been erected by private interests, it would have opened in 1903 and cost $2 million less. The Board of Estimate launched an inquiry into the delays in 1906, and the buildings elevators were tested that March. The Municipal Art Commission, which was still reluctant to approve the sculptures, finally consented in September 1906.</p><br>
<h3>Use</h3><br>
<h4>1900s to 1940s</h4><br>
<p>The New York City Controllers office began moving its records to the building in mid-1906. when the Department of Taxes and Assessments began meeting within the building. Horgan and Slattery claimed its final cost was $5.063 million, while other estimates placed the cost as high as $10 million. Ten percent of the construction cost went to Horgan and Slatterys design fee. From the beginning, the Hall of Records contained space for New York Citys departments of finance, taxes and assessments, and law, as well as the New York County Register, County Clerk, and Surrogates Court. A small number of records from the previous Hall of Records were never transferred to the new building and were lost.</p><br>
<p>Shortly after the buildings opening, news outlets reported that some of the buildings "marble" was made of plaster, but this was consistent with the construction contract calling for "plaster enrichment". In addition, despite the building&#39;s high construction cost and the $90,000 annual maintenance cost, the New-York Tribune reported in 1907 that the building was already dirty and that some furnishings had been damaged to an extent described as "little short of criminal".</p><br>
<p>In 1911, the Hall of Records power plant began providing electricity to two other buildings nearby. George McAneny, the borough president of New York City, also proposed installing an ice-making plant in the buildings basement in 1913, which would have been supplied by the buildings power plant. By the mid-1910s, the building contained 8,000 books of property titles, one million mortgages, and over one million deeds. Other agencies and organizations moved to the building after its completion. The Vehicular Tunnel Commission was established in the Hall of Records in 1919 to oversee the Holland Tunnels construction, and an employment bureau for soldiers opened there the same year. The Naval Reserve Force also opened an office on the third floor in the 1910s. After the city&#39;s oldest records (dating from the 16th and 17th centuries) were rediscovered in the late 1920s, they were moved to the Hall of Records.</p><br>
<p>The original elevators in the Hall of Records operated for several decades and, over the years, the number of elevators was cut from ten to six. Faults in the Hall of Records&#39; elevator system had resulted in several deaths, while elevator operators were reluctant to operate them. The city government spent several hundred thousand dollars to repair the faulty elevators during the 1930s and 1940s.</p><br>
<h4>1950s to 1990s</h4><br>
<p>In 1950, the city sold off around 500,000 old chattel mortgages and other records to providing space for newer documents in the Hall of Records. New elevators were installed in the building in 1953. During the decade, officials microfilmed about 845,000 of the building&#39;s records to preserve them in case of a nuclear bombing. The city proposed converting all of the records to microfilm, but real-estate professionals opposed the plan because they would no longer be able to access physical record books. Another modification was made to the eastern facade in 1959, when the statues flanking the Centre Street entrance were removed because of street-widening work and the expansion of the underlying subway station. The statues were reinstalled at the New York County Courthouse in the early 1960s.</p><br>
<p>The Hall of Records was renamed the Surrogates Courthouse in 1962. The New York City Council adopted a resolution to rename the structure that October because most of the buildings space was used by the court and related offices. By that decade, the records of the Surrogates Court were spread across four stories of the building. During the mid-1960s, the government of New York City proposed a new Civic Center municipal building, which would have entailed destroying several surrounding buildings. The architects of the planned building had proposed the courthouses eventual demolition because the plans called for the new building and City Hall to be the only structures in an expanded City Hall Park. Land acquisition began in late 1964, but the redevelopment plans were ultimately scrapped during the 1975 New York City fiscal crisis.</p><br>
<p>During a renovation of the Municipal Building in the 1970s, the Municipal Reference Center was moved to the Surrogates Courthouse. The facade of the Surrogates Courthouse was also cleaned in the 1970s. Following a $300,000 renovation of the building&#39;s first floor,</p><br>
<p>During the late 20th century, archival materials from other locations in New York City were also relocated to the Surrogates Courthouse. In addition, exhibits of archival material were sometimes displayed in the buildings main lobby. New York City mayor Rudy Giuliani proposed transferring DORISs 100,000 ft&sup3; archive within the building to the New York City Department of Citywide Administrative Services (DCAS) in the late 1990s, but the citys archivists opposed the move. By then, most of the Municipal Archives collection was stored at Bush Terminal in Brooklyn, rather than at the Surrogates Courthouse. Unlike the courthouse, the Bush Terminal facility did not have climate control, prompting concerns over the deterioration of the records at Bush Terminal.</p><br>
<h4>2000s to present</h4><br>
<p>The New York City Department of Finance used part of the second floor for registering and storing mortgages and deeds until 2001. The Building Energy Exchange was also established in the Surrogate&#39;s Courthouse in 2015, occupying a 5,500 ft2 space once used as a courtroom and as a film set.</p><br>
<p>By the early 21st century, the Surrogates Courthouse no longer provided sufficient space for the citys records. In 2017, DORIS began moving the records to the New York State Archives, as well as to the Municipal Archives in the buildings basement. In addition, between 2016 and 2020, Urbahn Architects renovated the lobbys skylight, which involved replacing several parts of the corroded steel frame as well as adding replicas of the original skylight&#39;s glass blocks. The skylight replacement project received the 2020 Lucy Moses Preservation Award from the New York Landmarks Conservancy.</p><br>
<h2>Impact</h2><br>
<p>Upon the Hall of Records&#39; completion, the Brooklyn Daily Eagle said: "The exterior of the big granite pile on Chambers and Centre streets may appeal to the artistic eye, but the interior is a positive revelation, and there is probably nothing like it in any city of the Union." Schuyler said that the design "has reproduced the effect of monuments designed under so much simpler conditions". The Detroit Free Press praised the Hall of Records as "one of the most beautiful pieces of architecture in the country", Broadway Magazine said that the building "to some appears wasteful extravagance, to others wonderful and satisfying art".</p><br>
<p>Architecture critic Paul Goldberger stated that the courthouses interior was one of the citys finest Beaux-Arts interiors, and he compared the building favorably to two contemporaries in lower Manhattan, the smaller Chamber of Commerce Building and the larger Custom House. The building has been used as a filming location for the television shows Law & Order,</p><br>
<p>The LPC designated the exterior of the Surrogates Courthouse as a New York City landmark in 1966, The building was placed on the National Register of Historic Places in 1972, and it was also designated a National Historic Landmark in 1977 for its architecture. The Surrogates Courthouse building is also located within two historic districts. It is part of the African Burial Ground and the Commons Historic District, which was designated a city landmark district in 1993. The building is also part of the African Burial Ground Historic District, a National Historic Landmark District.</p><br>
<p>The Liberty Hill School at Liberty Hill, near Fairview, Tennessee, was built c. 1915. Along with Forest Hills School and Liberty School, as of 1988 it was considered one of the three best surviving examples in Williamson County of one room schoolhouses built during 1900–1920. Most of these schools, which once provided the majority of public education in the county, had been lost.</p><br>
<p>The school and a 1.1 acre property was listed on the National Register of Historic Places in 1988, It was delisted in 2022.</p><br>
<p>The Skew Arch Bridge in Reading, Pennsylvania, also known as the Askew Bridge and nicknamed the Soap and Whiskey Bridge, is an historic skew arch bridge that was completed in 1857. Its design enabled it to carry two tracks of the Philadelphia and Reading Railroad  at an angle over Sixth Street in Reading, Berks County, Pennsylvania.</p><br>
<p>This bridge was acquired by Conrail after the P&R&#39;s demise in 1976 and was transferred to Norfolk Southern Railway in 1999.</p><br>
<h2>History</h2><br>
<p>The bridge was designed in 1856 by Richard Osborne, who submitted a pre-construction model to the company. Workers were partially paid with whiskey and pieces of soap, rather than entirely in cash, leading to the structure&#39;s unusual nickname.</p><br>
<p>The main arch of the bridge spans 40 ft, with two smaller arches spanning the sidewalks on either side. The courses of the arch were constructed from local brownstone in elliptical curves that follow the angle at which the railroad tracks cross the street. As a result, there is no keystone in the arch.</p><br>
<p>In 1951, the Pennsylvania Historical and Museum Commission placed a historical marker on the site; in 1973 the bridge was listed on the National Register of Historic Places.</p><br>
<p>HABS Skew Bridge Reading.jpgView of the courses of the arch, 1999</p><br>
<p>Skew Bridge.JPGFrom the southeast, 2011</p><br>
<p>The Frederick W. Winters House in Bellevue, Washington, United States, was built in 1929 in Mission Revival style. It was listed on the National Register of Historic Places in 1992 and is the only nationally designated property in the city of Bellevue. The building is owned by the City of Bellevue and was closed in 2016 for light rail construction along Bellevue Way.</p><br>
<h2>History</h2><br>
<p>Frederick and Cecilia Winters settled in the Bellevue area in 1916, purchasing a small holly farm and later a 10 acre farm by the Mercer Slough. The Winters raised azaleas for sale in the Midwest and East Coast in several greenhouses on the property, which was expanded by 10 acre in the early 1920s to support bulb farming. Frederick Winters raised narcissus, Dutch irises, and Spanish irises, profiting from the national quarantine of imported bulbs that was in place from 1926 to 1938.</p><br>
<p>The Winters constructed their third home in 1929, on a site one mile (1 mi) north of their bulb farm and at a cost of $32,000. Cecilia&#39;s brother Elmer H. Roedel designed the two-story home using a mix of the popular Spanish Eclectic and Mission Revival styles, based on his own home in Portland, Oregon.</p><br>
<p>The City of Bellevue purchased the 14 acre property in 1988 for $1.7 million, using a county open space ballot measure, and began an extensive renovation in 1990 at the behest of the Bellevue Historical Society. The renovations cost $335,623 and included the addition of an interpretive center and trailhead for the Mercer Slough trail. The Winters House was added to the National Register of Historic Places in 1992 and re-opened to visitors in June 1994. The Bellevue Historical Society, later merged into the Eastside Heritage Center, moved into the renovated mansion with antique furniture donated by Bellevue residents and businesses. One of the items, an authentic 1930s telephone, plays a simulated conversation between Cecilia Winters and her neighbor as part of the museum&#39;s programming.</p><br>
<p>The building was closed in 2016 for construction of the East Link Extension light rail project along Bellevue Way. Light rail trains will pass 9 ft in front of the Winters House in a trench along Bellevue Way, which will also have a lid to dampen noise.</p><br>
<p>The Ricards House–Linden Hall near Bridgeville, Delaware, USA, also known as Conaway House, is a historic house that was builtin five sections between 1731 and the mid-1960s. It includes a distinctive two story veranda built in the 1850s in the style of a pre-Civil War plantation house.</p><br>
<p>The house was listed on the National Register of Historic Places in 1982.</p><br>
<p>The architecture includes Classical Revival, Federal, and Colonial Vernacular styles.</p><br>
<p>The St. Francis Xavier Cathedral  is a historic Catholic church in Vincennes, Indiana, under the Diocese of Evansville. Named for Francis Xavier, the 16th-century Jesuit missionary, it is located opposite George Rogers Clark National Historical Park at 205 Church Street, within the Vincennes Historic District.</p><br>
<p>Jesuit missionaries established St. Francis Xavier parish around 1734 on land donated by the King of France, making it the oldest Catholic parish in Indiana; its earliest parish records date from 1749. The present Greek Revival-style basilica church, built on or near the site of two earlier Catholic churches, dates from 1826. In 1834, when Pope Gregory XVI erected the Diocese of Vincennes, St. Francis Xavier was elevated to a cathedral and served as the seat of the episcopal see from 1834 to 1898. On 14 March 1970 Pope Paul VI elevated St. Francis Xavier Cathedral to the status of minor basilica, "an honor reserved for only the most historic churches."</p><br>
<p>Between 1834 and 1898 two of St. Francis Xaviers priests became bishops (Benedict Joseph Flaget, Bishop of Bardstown, and Célestine de la Hailandière, Bishop of Vincennes), and several served as vicars general or seminary rectors. Between 1837 and 1882 seventy-five priests were ordained at St. Francis Xavier, including Michael E. Shawe, the first priest ordained in Indiana. Bishop John Stephen Bazins episcopal consecration at St. Francis Xavier in 1847 was the first to be conducted in the state. The remains of the first four Bishops of Vincennes (Simon Bruté, de la Hailandière, Bazin, and Jacques Maurice de St. Palais) are buried in St. Francis Xavier&#39;s crypt. The basilica was added to the National Register of Historic Places in 1976.</p><br>
<h2>History</h2><br>
<p>The history of St. Francis Xavier parish is closely tied to development of the Catholic Church in Indiana—the parish has ties to six Roman Catholic dioceses in North America: the Diocese of Quebec, Canada, the Diocese of Baltimore, Maryland, the Diocese of Bardstown, Kentucky, the Diocese of Vincennes, Indiana, the Diocese of Indianapolis, Indiana, and the Diocese of Evansville, Indiana. After St. Francis Xavier&#39;s establishment as an early Jesuit mission in the seventeenth century, it became the seat of the Diocese of Vincennes in the nineteenth century, and achieved its present-day status as a basilica in 1970.</p><br>
<h3>Jesuit mission (1732&ndash;1763)</h3><br>
<p>St. Francis Xavier, the oldest Catholic parish in Indiana, traces it origins from the early Jesuit missionaries, who visited the area on the Wabash River as early as 1732. Vincennes was named for a Canadian soldier, François-Marie Bissot, Sieur de Vincennes, and the site became an important French trading post and military garrison in the Northwest Territory.</p><br>
<p>St. Francis Xaviers first resident priest was Father Sebastian Louis Meurin, S.J., who arrived in May 1748. Father Meruin, who transferred to Prairie du Rocher in 1753, was succeeded by Father Louis Vivier, S. J., whose first recorded act is a marriage on 20 May 1753. Father Vivier died at Vincennes in October 1756, The first record from the parishs next resident priest, Father Julian Duvernay, is dated 28 August 1756. During this early period of the parish&#39;s history the number of baptisms and marriages, half of which were Indians or slaves that belonged to the garrison commandant or the village inhabitants, small, but increasing. Following the Treaty of Paris (1763), when the Jesuits were banished from the area, Father Duvernay left Vincennes, but the Diocese of Quebec retained its ecclesiastical jurisdiction over St. Francis Xavier church.</p><br>
<h3>Parish church (1763&ndash;1834)</h3><br>
<p>Between 1763 and 1785 St. Francis Xavier parish did not have a resident priest. During the interim a notary public administered baptism as a layman, and recorded the names on the register. In 1770, after the inhabitants of Vincennes requested a priest for their parish, the Bishop of Quebec sent Father Pierre Gibault to visit Vincennes. Father Gibault, who returned to Vincennes during the American Revolutionary War, administered an oath of allegiance to its French inhabitants at St. Francis Xavier church in 1788. This oath to the Americans placed Vincennes under the Commonwealth of Virginia. On 25 February 1779 British General Henry Hamilton surrendered Fort Sackville to Colonel George Rogers Clark at St. Francis Xavier church. In 1785 Father Gibault returned to Vincennes to become the parish&#39;s first resident priest in more than twenty years. He left Vincennes on 11 October 1789, and no resident priests replaced him until 1792.</p><br>
<p>On 6 November 1789, when Pope Pius VI erected the Diocese of Baltimore as the first Catholic diocese in the United States, St. Francis Xavier was placed under its ecclesiastical jurisdiction. John Carroll, the first Bishop of Baltimore, sent Father Benedict Joseph Flaget to Vincennes as the parishs permanent priest. Father Flaget arrived on 21 December 1792. He opened a parochial school at the church before he was recalled to Baltimore in 1795. Father Jean François (John Francis) Rivet, who was Father Flagets replacement at St. Francis Xavier, established a college, the predecessor to Vincennes University, and held classes in the church rectory. He died at Vincennes in 1804, once again leaving the parish without a resident priest.</p><br>
<p>In September 1808, when Father Flaget was appointed the first bishop of the Diocese of Bardstown, St. Francis Xavier was placed under the jurisdiction of the new diocese. In 1814 Bishop Flaget became the first Catholic bishop to visit Indiana. Visiting priests continued to serve St. Francis Xavier parish until Bishop Flaget appointed Fathers Blanc and Jeanjean as resident priests on 25 April 1818. Several other priests served the parish until 1823, when Father Leo Champomier was the appointed St. Francis Xavier&#39;s resident priest. In 1825, at the direction of Bishop Flaget, Father Champomier proposed construction of a new brick church that became the present-day St. Francis Xavier Basilica.</p><br>
<h3>Diocesan cathedral (1834&ndash;98)</h3><br>
<p>On 6 May 1834 Pope Gregory XVI issued a Papal Bull to erect the Diocese of Vincennes, the first Catholic diocese in Indiana. St. Frances Xavier became the cathedral church for the new diocese and served as the seat of the episcopal see under all five Bishops of Vincennes. Father Jacques Maurice de St. Palais, the fourth Bishop of Vincennes, was consecrated at St. Francis Xavier on 14 January 1849, and served until his death on 28 June 1877. In 1857, while St. Palais was Bishop of Vincennes, the northern half of Indiana was erected as the Diocese of Fort Wayne. Rev. Francis Silas Chatard, the fifth and final Bishop of Vincennes, was consecrated at St. Francis Xavier on 12 May 1878; however, he chose Indianapolis, the state capital of Indiana and the largest city in the diocese, as the new seat of the episcopal see. Between 1837 and 1882 seventy-five priests were ordained at St. Francis Xavier, including Michael E. Shawe, the first priest ordained in Indiana. In 1898 the episcopal see was moved to Indianapolis and it became the Diocese of Indianapolis. Bishop Chatard was its first bishop.</p><br>
<h3>Since 1898</h3><br>
<p>St. Francis Xavier remained under the jurisdiction of the Diocese of Indianapolis from 1898 to 1944, when Pope Pius XII elevated the episcopal see to the Archdiocese of Indianapolis and established two new suffragan diocese in Indiana: the Diocese of Evansville and the Diocese of Lafayette. On 14 March 1970 Pope Paul VI raised the status of St. Francis Xavier Cathedral to a basilica.</p><br>
<h2>Cathedral design and construction</h2><br>
<p>The present Greek Revival-style basilica dates from 1826, making it the oldest Catholic church in Indiana. It was built on or near the site of two earlier churches. The first chapel, a crude structure measuring 22 feet by 66 feet, with log posts, mud daub, and a bark roof was erected circa 1734, around the time that Vincennes was founded. A second log church, which replaced the older structure, was dedicated on 3 December 1785. It measured 90 feet by 42 feet and had a small bell tower. The earlier church was renovated and converted to a rectory.</p><br>
<p>On 24 July 1825 Father Jean Leon Champomier held a parish meeting to consider his proposal to erect a new brick church, which became the present-day St. Francis Xavier Basilica. Its cornerstone of Tennessee marble was laid on 30 March 1826. A strong storm struck Vincennes on 6 November 1826, and destroyed two walls of the unfinished church, but the church was rebuilt. The first services were held in the new church during the summer of 1827, although the interior was not yet complete and had little decoration.</p><br>
<p>When Bishop Bruté, the first Bishop of Vincennes, arrived at Vincennes on 5 November 1834 the church was still unfinished. Bishop Hailandière, the second Bishop of Vincennes, continued work on the cathedral. In April 1840 the south end collapsed, but it was rebuilt. Bishop Hailandière consecrated the cathedral on 8 August 1841</p><br>
<p>Bede OConnor, O.S.B., vicar general to Bishop St. Palais, fourth Bishop of Vincennes, supervised the cathedrals interior decoration. Father Hugo Peythieu procured fourteen oil paintings from France for the Stations of the Cross.</p><br>
<h3>Cathedral library</h3><br>
<p>The small brick building that became known as Old Cathedral Library was erected adjacent to the church in 1840 to house Bishop Brutés personal collection of more than 5,000 books and other documents. His collection became the nucleus for the cathedrals library, the first library to be established in Indiana. In 1968 the Lilly Endowment provided grant funds to construct a new museum and library building to house the collection, which had grown to contain more than 11,000 rare books and volumes. Its oldest document, which is hand engraved on parchment, is an original papal document from Pope John XXII that dates from 1319.</p><br>
<h2>Description</h2><br>
<p>The basilica is the main structure in a complex that also includes a Greek Revival-style rectory (1841), the old library (1840), a library/museum building (1968), and an adjacent cemetery.</p><br>
<h3>Exterior and plan</h3><br>
<p>The simple Greek Revival-style basilica is constructed of reddish orange brick laid in Flemish bond. Its plan is based on the St. Joseph Cathedral at Bardstown, Kentucky. St. Francis Xavier measured 115 feet by 60 feet; each side had five windows and its façade had a window over each of its three entrance doors. In 1834 Bishop Bruté described the unfinished church as a plain brick building without plaster or whitewash, with a simple wooden altar, a gilded tabernacle, a cross, and six candlesticks. After his arrival the roof was strengthened, the interior was plastered, and a sacristy was added. The sanctuary was later enlarged and its floor raised to allow excavation for a burial crypt. Bishop Hailandière also had a ciborium pulpit, a new high altar with saints&#39; relics, and side altars added to the cathedral. Other additions included stone steps across the front, an enlarged organ gallery, and installation of a new organ. More alterations were made in 1908 (new windows and brick buttresses added to the side walls) and in 1911 (the second-level windows were closed).</p><br>
<p>A bell tower designed by architect Jean Marie Marsile was added in the 1830s at a cost of $1,566. The steeple bell (ca. 1742) in the upper belfry originally hung in the parish&#39;s first church.</p><br>
<p>Statues of St. Joan of Arc, St. Francis Xavier, and St. Patrick stand in arched niches on the cathedral&#39;s façade. A statue of Father Pierre Gibault in front of the cathedral honors his assistance to the Americans during the American Revolutionary War.</p><br>
<h3>Interior</h3><br>
<p>Wilhelm Lamprecht (1838 &ndash;1922), who studied at the Academy of Fine Arts, Munich, came to America to paint, and decorated churches in Newark, New Jersey, Cincinnati, Ohio, and Vincennes. Lamprecht painted three large murals for St. Francis Xavier in 1870: a Crucifixion scene above the high altar; a Madonna with the patron saints of the first four bishops of Vincennes (Saints Simon, Celestine, Stephen, and Maurice) above the Blessed Mother altar; and Saint Francis Xavier, the parish&#39;s patron saint, above the Saint Joseph altar.</p><br>
<p>The fourteen oil paintings installed in the sanctuary for the Stations of the Cross came from France, ca. 1883. Their frames were carved locally.</p><br>
<p>Von Gerichten Art Glass Company of Columbus, Ohio, created the stained glass windows depicting Saints Matthew, Mark, Luke, and John in 1908.</p><br>
<p>Large Doric columns support the basilica&#39;s arched ceiling. They are made of yellow poplar encased in plaster and painted to resemble marble.</p><br>
<h2>Services</h2><br>
<p>St. Frances Xavier parish is under the jurisdiction of the Diocese of Evansville.</p><br>
<p>As of October 2023, Mass is celebrated on Sunday, at 5:30 pm; on Tuesday (during the school year) at 8:10 am; on Wednesday at 6:00 pm; and on Friday at 12:00, Noon. Reconciliation is available at 11:30 am on Friday; and at 5:00 pm on Sunday.</p><br>
<p>The basilica&#39;s library and museum are open Memorial Day through Labor Day, Mon.&ndash;Sat., 12:30&ndash;4 p.m., or by appointment.</p><br>
<h2>Ordinaries</h2><br>
<p>Five bishops served the Diocese of Vincennes since St. Francis Xavier&#39;s consecration on 8 August 1841.</p><br>
<p>Simon Bruté de Rémur (Consecrated 28 October 1834&ndash;Died 26 June 1839)</p><br>
<p>Célestine de la Hailandière (Consecrated 18 August 1839&ndash;Resignation accepted 29 March 1847)</p><br>
<p>John Stephen Bazin (Consecrated 24 October 1847&ndash;Died 23 April 1848)</p><br>
<p>Jacques Maurice de St. Palais (Consecrated 14 January 1849&ndash;Died 28 June 1877); he also served as administrator of the diocese from Bishop Badin&#39;s death on 23 April 1848 to 14 January 1849.</p><br>
<p>Francis Silas Chatard (Consecrated 12 May 1878&ndash;Died 7 September 1918); Bishop Chatard became the first Bishop of Indianapolis on 28 March 1898, after the episcopal see was moved to Indianapolis.</p><br>
<p>The remains of the first four Bishops of Vincennes are buried in St. Francis Xavier&#39;s crypt. Bishop Chatard was interred at Saints Peter and Paul Cathedral (Indianapolis), but his remains were moved to Calvary Cemetery, Indianapolis, in 1976.</p><br>
<h2>St. Francis Xavier Cathedral Cemetery</h2><br>
<p>The Bank of Dyersburg is a historic building built in 1885. Located at 100 N. Main St. in Dyersburg, Tennessee, United States, it has also been known as Citizens Bank Building. It has served historically in commerce/trade functions, including as a professional building, as a specialty store, and as a financial institution. It was listed on the National Register of Historic Places in 1983 for its architecture.</p><br>
<h2>History</h2><br>
<p>The Bank of Dyersburg received a charter and began in business in 1880. Its 1885 new building has been described as showing "a stylish mix of Second Empire and Italianate architecture."</p><br>
<p>It is listed in the National Register&#39;s NRIS database as showing Modern Movement style, however.</p><br>
<p>The Jacob Sears Library is one of the five public libraries of Dennis, Massachusetts. It is located at 23 Center Street in East Dennis, in a building funded by a bequest from Jacob Sears, a longtime East Dennis resident. The Shingle style structure was built in 1895 to a design by the Boston firm of Rand & Taylor. The library building was listed on the National Register of Historic Places in 2009.</p><br>
<h2>Architecture and history</h2><br>
<p>The Jacob Sears Memorial Library is set on the south side of Center Street in the village of East Dennis, just north of Massachusetts Route 6A. It is a rectangular single-story wood-frame structure, with a hip roof and a stone foundation. The ridge line of the roof is T-shaped, with the section at the right end perpendicular to the street. This section extends to shelter the main entrance, flaring out form a portico supported by square posts and large brackets. Just to the right of the entrance is a turreted polygonal projection. Wall dormers line the front facade to the left of the entrance. The interior is divided into the primary library space at the western end, a large meeting space in the center, with backstage spaces at the far eastern end.</p><br>
<p>The first library services were provided in East Dennis by a private lending association founded in 1866. Jacob Sears, a lifelong resident of East Dennis, gave funding for the construction and endowment of this library building, which was completed in 1895 to a design by the Boston firm of Rand & Taylor. The meeting hall has been used for a wide variety of civic and social functions. The building underwent a major restoration in 2005-06.</p><br>
<p>The West Washington Street Bridge is a historic concrete arch bridge in Muncie, Indiana, United States. It spans the White River, connecting Washington Street and Meeks Avenue. It was designed by Charles Armintrout, who was the Delaware County Engineer at the time. The bridge has four elliptical arch spans. The steel reinforcements of the arch rings extend deep into the bridge&#39;s piers and abutments, allowing the piers to be substantially thinner. This design was inspired by the works of Edwin Thacher.</p><br>
<p>Three plaques are embedded into the railing of the bridge. Two of the plaques include the names of the Delaware County Commissioners, the County Auditor, the original construction company, the restoration contractor, and the Delaware County Council.</p><br>
<h2>History</h2><br>
<p>In the late 1920s, the borders of Muncie had expanded. Development associated with Ball State Teachers College and Ball General Hospital created new suburban districts. The various areas of the city and its suburbs had previously been linked by streetcars, but this service was discontinued when automobiles became the main mode of transportation. With this, the West Washington Street Bridge became more important to the community as a route connecting the suburbs with downtown. Originally, a metal truss bridge spanned the White River; however, due to the increased traffic, it was considered unsafe. Plans and specifications for a new bridge were prepared by Charles Armintrout, and they were approved in 1927. At the time, the bridge was estimated to cost $95,000. After delays due to the state&#39;s approval process, construction began in 1929 and was completed in 1930, by Burk Construction Company, at a cost of $85,949.</p><br>
<h2>Design</h2><br>
<p>The design of the West Washington Street Bridge was influenced by the work of Edwin Thacher.</p><br>
<h2>Historical significance</h2><br>
<p>The West Washington Street Bridge has historical significance because of its association with Muncies growth during the automobile age. The bridges engineering is also of significance because of its use of the period&#39;s engineering innovations. The periods of significance include 1925–1949 and 1950–1974. The West Washington Street Bridge was listed on the National Register of Historic Places in 2008.</p><br>
<p>The W. W. Shirk Building, also known as the Canopic Apartments, is located at 219 E. Jackson St. in Muncie, Indiana. The original building was designed for a combination of commercial and residential space. After completion of its 21st century remodeling, led by Flaherty and Collins, the building became solely residential.</p><br>
<h2>History</h2><br>
<p>The Shirk Building was constructed in 1906, with some portions originally dating back to 1889. The apartment building was popular in the early 20th century, but fell into disrepair during the 1980s and 1990s, when the building went almost completely vacant.</p><br>
<p>It was added to the National Register of Historic Places in 1988.</p><br>
<p>By 2005, the W. W. Shirk Building had been tagged by city building inspectors as potentially needing demolition, due to the deterioration over the years of little usage. The Indianapolis-based developing firm of Flaherty and Collins began a heavy remodeling of the building in 2008 and brought the W. W. Shirk to its current status in 2009.</p><br>
<h2>Architecture</h2><br>
<p>The W. W. Shirk Building is a three-story apartment building in the Italian Renaissance Revival style. The brick and limestone construction of the building is similar to other flats and apartments built in Muncie during the same time period.</p><br>
<h2>Renovation</h2><br>
<p>In 2008, the developer Flaherty and Collins began renovating the building. The project was granted historic building tax credits, which helped the developers begin the renovation with a more manageable budget. The first floor of the building, which was originally designed for commercial use, was turned into residential apartments, while the upper level apartments were completely renovated and restored.</p><br>
<p>Flaherty and Collins&#39; project also included the renovation of nine historic homes in downtown Muncie, Indiana. The cost of the W. W. Shirk renovation alone came in at $3.1 million. The project altogether, including the nine historic homes, came in at $6 million.</p><br>
<h2>Current status</h2><br>
<p>The Canopic Apartments include 24 living units ranging from one to two bedroom apartments, as well as one efficiency unit. The modern apartments in this 19th-century building include all the modern living needs, ranging from a high-tech security system to computer and internet access, as well as classic design features, including 10-foot ceilings and hardwood floors. Although these residential units were renovated in 2008, Flaherty & Collins salvaged as many of the classic and original features as possible, including the original built-ins, flooring, crown molding, and fireplaces.</p><br>
<p>The Grizzly Bluff School was an historic school in the farm fields outside Ferndale, California. Students came from the surrounding Eel River valley to attend a one-room school earlier than the construction of the first known school building.</p><br>
<p>Tom Dix and John Davenport built the current building in 1871, and the ornamental windbreak was planted in 1878. In the 1880s, the building was moved away from the road and placed on a new foundation.</p><br>
<p>In 1900, more space was needed to support a large number of students and the old Presbyterian Church nearby was converted to schoolrooms.</p><br>
